An Overview of Higher Level Qualifications in Music, Dance and Speech and Drama Subjects
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Media Information New University of the Arts London Campus Central Saint Martins at King’S Cross
Media Information © 2011 New University of the Arts London Campus Central Saint Martins at King’s Cross Project Description October 2011 To the north of King’s Cross and St Pancras International railway stations, 67-acres of derelict land are being transformed in what is one of Europe’s largest urban regeneration projects. The result will be a vibrant mixed-use quarter, at the physical and creative heart of which will be the new University of the Arts London campus, home of Central Saint Martins College of Arts and Design. Stanton Williams’ design for the £200m new campus unites the college’s activities under one roof for the first time. It provides Central Saint Martins with a substantial new building, connected at its southern end to the Granary Building, a rugged survivor of the area’s industrial past. The result is a state-of-the-art facility that not only functions as a practical solution to the college’s needs but also aims to stimulate creativity, dialogue and student collaboration. A stage for transformation, a framework of flexible spaces that can be orchestrated and transformed over time by staff and students where new interactions and interventions, chance and experimentation can create that slip-steam between disciplines, enhancing the student experience. The coming together of all the schools of Central Saint Martins will open up that potential. The design aims to maximise the connections between departments within the building, with student and material movement being considered 3-dimensionally, as a flow diagram North to South, East to West, and up and down – similar in many ways to how the grain was distributed around the site using wagons and turntables. -
The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. -
Annual Review & Report 2012/13
ROYAL ACADEMY OF DANCE Annual Review & Report 2012/13 Royal Academy of Dance Annual Review & Report 2012/13 CONTENTS Chairman’s report 02 Chief Executive’s review 04 RAD leadership 06 The Trustees 10 The Academy 12 Examinations 14 Education 16 Continuing Professional Development 18 employees in UK and Republic As the professional membership body for 122of Ireland Membership 20 dance teachers, we will inspire and empower Student Activities 22 Step into Dance 24 dance teachers and students, members and Benesh Movement Notation 26 employees and representatives The Philip Richardson Library 28 staff to make innovative, artistic and lasting in international111 offices RAD Enterprises 30 contributions to dance and dance education Annual General Meeting 32 throughout the world. Summarised financial statements 34 freelance196 examiners Key performance indicators 36 Overview 37 At a glance 38 Statement of the Board of Trustees’ responsibilities 39 freelance teachers/guest lecturers 300 Independent auditor’s statement to the Trustees of Royal Academy of Dance 40 Group consolidated statement of financial activities 41 mentors 350 Group and charity balance sheets 42 Accounting policies 43 Scholarships, awards, bursaries & fundraising 45 practical teaching supervisors 200 Corporate governance 47 Offices 49 100tutors Our highlights of the year are produced in full in a separate publication, Your stories – Our highlights, created in conjunction with this Annual Review & Report. Photo: Evan Li; Cover photo: David photo: Tett Evan Li; Cover Photo: 02 Royal Academy of Dance Annual Review & Report 2012/13 03 CHAIRMAN’S REPORT The year under review has seen an almost unparalleled Along with our successes over the past year, we have level of activity at the Royal Academy of Dance. -
1 Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice Graduated
Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice graduated from Trinity Laban Conservatoire of Music and Dance in 2015 with a First Class Honours degree in Contemporary Dance, and went on to gain an MA in Dance Performance at the University of Chichester. Currently the Lead Press and Communications Officer at the Royal Academy of Dance, Alice has previously worked in marketing and communications at organisations such as Trinity Laban and The Place, gaining an in depth and confident understanding of social media strategy. Amelia Wilkinson, MSc Physiotherapy (pre-reg), MSc Dance Science, BA (Hons) Sociology, APPI certified Pilates Instructor Enhancing Silver Swans® Provision Amelia originally trained as a dancer at The Royal Ballet School and is now a dance science educator, physiotherapist and Pilates instructor. Her expertise in health and wellbeing is informed by both her dance for health and physiotherapy research. Most recently she examined community dwelling stroke survivors’ perceptions of upper limb dysfunction and its impact on quality of life. She currently works as a Health and Performance Enhancement Tutor across two Centre for Advanced Training programmes and delivers dance science CPD courses across the UK and internationally for the RAD. Caroline Palmer, ARAD (Dip. PDTC) Analysing Discovering Repertoire Choreographic Style with Benesh Notation Caroline trained in classical ballet in London with Andrew Hardie and Maria Fay. She danced professionally for 10 years mainly with the Deutsche Opera in Dusseldorf. In 1979 Caroline retrained as a teacher at the Royal Academy of Dance and subsequently taught on the degree course at Laban, London. -
The-Music-Of-Andrew-Lloyd-Webber Programme.Pdf
Photograph: Yash Rao We’re thrilled to welcome you safely back to Curve for production, in particular Team Curve and Associate this very special Made at Curve concert production of Director Lee Proud, who has been instrumental in The Music of Andrew Lloyd Webber. bringing this show to life. Over the course of his astonishing career, Andrew It’s a joy to welcome Curve Youth and Community has brought to life countless incredible characters Company (CYCC) members back to our stage. Young and stories with his thrilling music, bringing the joy of people are the beating heart of Curve and after such MUSIC BY theatre to millions of people across the world. In the a long time away from the building, it’s wonderful to ANDREW LLOYD WEBBER last 15 months, Andrew has been at the forefront of have them back and part of this production. Guiding conversations surrounding the importance of theatre, our young ensemble with movement direction is our fighting for the survival of our industry and we are Curve Associate Mel Knott and we’re also thrilled CYCC LYRICS BY indebted to him for his tireless advocacy and also for alumna Alyshia Dhakk joins us to perform Pie Jesu, in TIM RICE, DON BLACK, CHARLES HART, CHRISTOPHER HAMPTON, this gift of a show, celebrating musical theatre, artists memory of all those we have lost to the pandemic. GLENN SLATER, DAVID ZIPPEL, RICHARD STILGOE AND JIM STEINMAN and our brilliant, resilient city. Known for its longstanding Through reopening our theatre we are not only able to appreciation of musicals, Leicester plays a key role make live work once more and employ 100s of freelance in this production through Andrew’s pre-recorded DIRECTED BY theatre workers, but we are also able to play an active scenes, filmed on-location in and around Curve by our role in helping our city begin to recover from the impact NIKOLAI FOSTER colleagues at Crosscut Media. -
ARSM (Associate of the Royal Schools of Music)
ABRSM Qualification Specification ARSM (Associate of the Royal Schools of Music) Version 1.0: January 2020 Next review: January 2021 Contents Introduction ......................................................................................................................3 About ABRSM, 3 This qualification specification, 3 About this qualification ...............................................................................................4 Overview, 4 Regulated qualification details, 5 ARSM diploma .................................................................................................................5 Syllabus, 5 Exam Regulations, 5 Entry requirements, 5 Exam booking, 6 Access (for candidates with specific needs), 6 In the exam, 6 Elements of the exam, 7 Assessment objectives .................................................................................................8 About assessment objectives, 8 ARSM (RQF Level 4), 8 Exam requirements .........................................................................................................9 Overview, 9 Scope of the assessment, 9 Exam Music, 11 Assessment ..................................................................................................................... 12 Mark allocation, 12 Result categories, 12 Marking criteria, 12 Results ............................................................................................................................... 14 Results, mark forms and certificates, 14 Malpractice and maladministration, 14 2 Introduction About -
BHASVIC HE Guide Creative Arts 20-21
Guide to Higher Education Creative Arts Dance .................................................................................................................................................... 3 Design ................................................................................................................................................... 7 Fine Art ................................................................................................................................................ 11 Music ................................................................................................................................................... 15 Photography ................................................................................................................................... 19 Sources & Links .............................................................................................................................. 23 See also the HE Subject Guide for English, Drama, Film & Media 1 What to ask on any Creative Arts open day Aspiring painter, illustrator, photographer or designer? Print out and use our list of open day questions when you're on a visit to a university or creative arts college. About the course How much contact time do I get with my tutor / lecturers? What is the split between theory and practical work? What range of modules is available to me? Will there be any public presentations / exhibitions of my work? Do I get to specialise in my second or third year? Equipment and facilities How -
Bird College
Bird College Inspection of colleges in the Dance and Drama Awards Inspection report Provider reference 50701 Published date January 2008 Audience Post-sixteen Published date January 2008 Provider reference 50701 Main Findings Course: Three-year National Diploma in Professional Music Theatre Overall effectiveness: Outstanding (grade 1) Date of inspection: 21 November 2007 This feedback contains findings from the inspection visit. It draws on the evidence available from performance data, external and internal reviews, other available documentation and interviews held on the day. The musical theatre course was previously inspected by Ofsted in June 2002 when it was graded outstanding (grade 1) for achievement and standards and the quality of education and training. The leadership and management of the college were last inspected in May 2004 and were graded outstanding (grade 1). Achievement and standards Recent reports produced by Trinity College London show that the standard of dancing, singing and acting in classes and performances continues to be very high. The recent revalidation report judged that ‘extremely high standards characterise the ethos of the institution… with several outstanding students in every cohort…’ A Trinity assessor’s report on a performance by third year students in the summer of 2007 noted that ‘ the students showed great skill, not just in singing, acting and dancing but were also accomplished gymnasts and showed a mature sense of comic timing.’ Diploma success rates are good. Some 90% of those enrolling in 2004 completed the three year course and all of those successfully gained a National Diploma in Professional Music Theatre. 2 Inspection report: Bird graduates are in regular employment and make very good progress within the industry. -
Student Non-Academic Misconduct Policy and Procedures
Conservatoire for Dance & Drama Student Non-Academic Misconduct Policy & Procedures Student Non-Academic Misconduct Policy and Procedures Contents Section of Policy Contents of Section See Page No Introduction 4 1. Scope and Non-academic misconduct 5 Definitions of Professional Conduct Student Misconduct relating to admissions Misconduct Absence and withdrawal/non-engagement relating to this including: process Misconduct and School Rules, Regulations and Obligations Misconduct which is also a criminal offence 2. Definitions and Presumption of Innocence 10 Policies Burden of Proof Legal Context Anonymous Allegations Confidentiality Emergency Powers Complaints regarding the Misconduct Procedures Impact of misconduct procedures on academic studies Timescales Failure to comply with decisions 3. Misconduct Informal procedures 13 Procedures Informal warnings Formal Procedures Suspected Misconduct Concerns: Preliminary Enquiry Preliminary Enquiry Procedure Preliminary Enquiry Interview Process Preliminary Enquiry Findings and Outcomes o Preliminary Enquiry Findings o Preliminary Enquiry Outcomes 4. Misconduct Proceedings of Panel Hearings 17 proceedings: o Representation and Accompaniment; Witnesses General o Evidence Provisions o Adjournment 1 Conservatoire for Dance & Drama Student Non-Academic Misconduct Policy & Procedures 5. Misconduct Terms of Reference 18 Panel What the School will send to the student o Misconduct Panel Misconduct Panel Hearing Procedure Misconduct Panel Outcomes o Outcome Procedure o Finding(s) -
LABAN THEATRELABAN Trinity Laban Conservatoire of Music & Dance
LABAN TRINITY Laban CONSERVatOIRE OF MUSIC & DANCE THEATRE MUSICAL THEATRE STUDENTS PRESENT: FRI 2 & SAT 3 DEC 14.30h & 19.30h THE CLOCKMAKer’S DAUGHTER An original faerytale musical by Michael Webborn and Daniel Finn PROGRAMME £3 THE CLOCKMAKER’S DAUGHTER Presented by Trinity Laban final year Musical Theatre students. This production is presented by special arrangement with Webborn and Finn. Director Michael Howcroft Musical Director Tony Castro Choreographer Jenny Arnold Set and Costume Designer Amy Yardley Lighting Designer Chloe Kenward The Clockmaker’s Daughter was originally produced by Theatrica Limited at the Landor Theatre. Directed by Robert McWhir Choreographed by Robbie O’Reilly Designed by David Shields Lighting by Richard Lambert Executive Producer Clive Chenery SYNOPSIS Spindlewood, like most towns of age, has its traditions. But no practice, custom, or Old Wives Warning is so firmly adhered to as ‘The Turning of the Key’. Every year, on the last night of winter, as the first day of spring unfolds, the townsfolk gather to take part in a strange ritual. They meet in the centre of the town square, where a statue bearing the likeness of a young girl stands, poised and still, one hand raised as if to toast the sky. Constance has stood in the square for as long as any can remember. And she is never more lifelike than tonight. CREATIVE TEAM BAND Director Lighting Designer Piano/Musical Director Michael Howcroft Chloe Kenward Tony Castro Musical Director Costume Supervisor Violin Tony Castro Cristiano Casimiro Rosie Judge Choreographer -
Centre for Advanced Training in Dance
OF MUSIC & DANCE OF TRINITY LABAN CONSERVATOIRE CATCENTRE FOR ADVANCED TRAINING IN DANCE TRINITYLABAN.AC.UK/CAT FULLY FUNDED PLACES AVAILABLE /TRINITYLABAN CENTRE FOR ADVANCED TRAINING WHO CAN APPLY? The Centre for Advanced Training (CAT) Do you see your future in dance? at Trinity Laban is part of an innovative scheme offering young people with potential Are you highly motivated and ready to commit in dance the opportunity to access high to an intensive programme of dance training? quality dance training, regardless of their personal circumstances. National CAT Are you aged 13–17? Centres are pioneers in prevocational training and research, promoting best All are welcome to apply regardless of practice and providing exceptional tuition previous dance experience. to young people. For more information on other centres across the UK visit nationaldancecats.co.uk TRINITY LABAN CAT PROGRAMME CAT students attend a full day of classes every Saturday during term time at the Laban Building. The programme of classes provides intensive and rigorous dance training taught by a highly experienced team of professional dance teachers and artists. The programme includes: / Contemporary dance / Ballet / Choreography / Dance fitness and health / Intensive holiday projects / End of year CAT show / Experience in different dance styles / Theatre trips / Careers advice / Individual training advice HOW TO APPLY Applications for Open Days and Auditions For application deadline, please visit trinitylaban.ac.uk/cat Open Days – February and March Come to a FREE open day to find out if CAT is the right choice for you. Open days include a practical dance class for the applicant with a presentation for parents/carers to find out more information. -
Course Specification Along with the Module Specifications, the Course Specification Form the Definitive Description of Any Qualification Awarded by the University
CA3: Course Specification Along with the Module Specifications, the Course Specification form the definitive description of any qualification awarded by the University. The Academic Quality and Standards Office (AQSO) is responsible for maintaining up to date records of all definitive documents (course and module specifications). Any amendments made to the Course Specification must be submitted to the AQSO via the formal Amendments process outlined in Section 4 of the Academic Quality and Standards Handbook 2019 – Amending Courses. Refer to CA3i Course Specification Guidance for help in completing this template. PART A: About the Course (See Part B for other key information) 1. Qualification (award and title): BA (Hons) in Professional Acting 2. Date of Approval (month and year): September 2020 3. Delivery Partners, Sites and Recognition: who delivers this course, where? Is it accredited by any professional bodies? Campuses/Partners Recognised/accredited by UWL (Paragon House, St Mary’s Road, Reading) Branch Campuses Partners UWL Council for Dance, Drama and Musical Theatre (CDMT) Federation of Drama Schools (FDS) 4. Course Description: a short descriptive statement used for publicity (max. 250 words): The primary aim of the full-time three year degree course in Professional Acting is to train adult students who have the talent, passion and commitment to become a professional actor and who also wish to gain a BA (Hons) Professional Acting degree. The programme achieves this by balancing the learning of essential and universal skills with the development of each student’s unique talent. For all students there is a broad path through the course of awareness, then skills and practice.