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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. -
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. -
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) -
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. -
2019-20 Drama School V. University Choosing the Right Path for Your Future out of the Spotlight Speak the Speech, Training and Careers I Pray You
STUDENT GUIDE TO www.dramaandtheatre.co.uk/SGDE 2019-20 Drama School v. university Choosing the right path for your future Out of the spotlight Speak the speech, Training and careers I pray you... beyond performance Choosing and preparing monologues Comprehensive advice for those applying to study or train in any aspect of the performing arts 001_SGDE_COVER [APPROVED].indd 1 23/07/2019 13:16 Apply for BA (Hons) and Foundation Courses at ArtsEd! Exceptional triple threat training. Revolutionary stage and screen Acting training. ArtsEd was ranked the top Igniting your drama school for overall student satisfaction in the 2019 National Student Survey with over 90% of students passion for happy with their training. Find out more: www.artsed.co.uk performance [email protected] @ArtsEdLondon 0_SGDE_2019/20.indd 2 05/08/2019 12:48 Welcome Extra online STUDENT GUIDE TO material The Student Guide to Drama Education is also available to 2019-20 read free online, where you will elcome to the Student Guide to Drama Education – a guide designed to off er fi nd links to extra comprehensive advice to anyone thinking of applying to study or train in any aspect of pages of course- Wthe performing arts. listings. Visit www. Everything in this guide has been written straight ‘from the horse’s mouth’ dramaandtheatre. – students and graduates of all the major disciplines share what it’s like to study their courses; teaching staff from world-class Higher Education co.uk from institutions tell you what you need to know about applying for their October 2019. courses; and working professionals in the industry off er career tips for those all-important early years in and out of training. -
Cdmt.Org.Uk UK Guide Is Sponsored by 03
Guide as pages.qxp_Layout 1 06/03/2018 11:44 Page 1 TO PROFESSIONAL TRAINING, EDUCATION UKAND ASSESSMENT IN THE PERFORMING ARTS GUIDE2018 DANCE DRAMA MUSICAL THEATRE DANCE DRAMA MUSICAL THEATRE cdmt.org.uk UK Guide is sponsored by 03 CDMT is the quality assurance and membership body for the professional dance, drama and musical theatre industries. It is the first point of contact for those seeking information on education, training and assessment in the sector across the UK. Contents Welcome 05 Towards the CDMT 07 Membership 08 Quality Assurance 10 Accredited Schools 12 Map of Schools 14 Validated Awarding Organisations 16 Graded Exams 18 Affiliates 23 Recognised Awards 25 Careers Conference and Showcase Performance 26 Glyndwr Jones Director CDMT works in partnership with Liz Dale Head of Education and Training Nina Ritchie Membership and Office Administrator Ania Foreman Recognised Awards and Administrative Officer FANTASTIC GROUP Meryl Knight Finance Officer RATES AVAILABLE Fraser Stainton Administrator FROM £18 PP Cover left to right: Brian Slater / James Davies / David Bartholomew Above: Call us on 020 7851 0314 or email [email protected] Stephanie De Leng dedicated account handler who will organise your group trip! cdmt.org.uk 05 Welcome Welcome to a special edition of what has become fondly known as The Guide during a landmark year for the organisation of which I am proud to be Chairman. You could be forgiven in asking, but a Guide to what? Well, across the pages that follow are highlighted many of the finest professional schools, awarding organisations and other institutions whose commitment and dedication to the highest standards of teaching, learning and development in dance, drama and musical theatre are the envy of countless across the UK and further afield. -
Student Fd/Ba Handbook 2020-2021
STUDENT FD/BA HANDBOOK 2020-2021 STUDENT HANDBOOK 2020-21 INTRODUCTION RAMBERT SCHOOL OF BALLET & CONTEMPORARY DANCE CLIFTON LODGE ST MARGARETS ROAD TWICKENHAM TW1 1QN TEL: 020 8892 8090 EMAIL: [email protected] WEB: www.rambertschool.org.uk INFORMATION RELATING TO THE COVID-19 PANDEMIC From March 2020 all Conservatoire Member Schools were required to close their physical sites as a result of emergency measures imposed by the UK government in response to the Covid19 pandemic. Since this time, the Conservatoire central office has liaised closely with all of its Member Schools to ensure students are not unduly disadvantaged by measures taken, to guarantee that support and good practice can be shared across all Schools, and ensure that the Conservatoire is meeting its obligations with regard to the Office for Students’ requirements. The Covid19 pandemic has required all of our Schools to take emergency measures to deliver the courses of study online. As government restrictions ease, Schools may resume on-site delivery partially and/or fully, depending on the requirements they must fulfil to ensure the safety of all students and staff. However, should the government re-impose a more severe level of restrictions, this may force Schools to adjust their delivery again, meaning the delivery of your course may need to partially or fully be online. Changes to how Conservatoire courses of study have previously been delivered in Member Schools prior to March 2020 are rigorously consulted upon and reviewed by the Conservatoire Learning, Teaching and Quality Assurance Committee, and by the External Examiner for each course. These bodies ensure that the quality of delivery meets the appropriate standards and that there is independent oversight of proposed changes. -
Federation of Drama Schools Agreement
INFORMATION FOR STUDENTS BA Acting or BA Stage & Production Management at East 15 Acting School offer holders only. The following does not apply to applicants holding offers on any other East 15 or University of Essex course. Applicants may only accept a place at one Federation of Drama Schools member school at any one time. If you have already accepted a place and subsequently change your mind and want to accept a later offer, you must cancel your acceptance of the previous place accepted, by writing to the relevant school. Cancellations can be received up to and including 1st July. After 15th July no Federation of Drama Schools member school may make an offer to a candidate who has been offered and accepted a place at another Federation of Drama Schools member school. It is absolutely essential that you do not accept and hold more than one offer of a place at any one time, but you are free to attend auditions/interviews at other schools and may change your mind as often as you wish (provided you decline, in writing the previous offer) up to the closing date given above. If you are offered a place on a course at a Federation of Drama Schools member school, you may, on accepting the offer, be asked for a deposit. Federation of Drama Schools strongly recommends that you make sure you understand each school’s current policy on deposits before entering into an agreement that could have financial implications for you FEDERATION OF DRAMA SCHOOLS SCHOOL’S MEMBERS ARE: ALRA – Academy of Life and Recorded Arts Arts Educational Schools London -
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Presentation Title Lorem ipsum dolor sit amet, NEXTconsectetur STEPSadipiscing elit. CAT AUDITION TOOLKIT 2020 We will cover: • Careers in dance • Where can I study? • The difference between University and Vocational/Conservatoire training • How to apply • How to write a personal statement • Fee Waivers • CAT Audition Toolkit Information 2 What jobs are there in Dance? • Performer • Choreographer • Dance Teaching - Schools sector / Private Dance Schools / Community Dance Practitioner / Dance Lecturer or Academic Researcher • Dance Project Co-ordinator or Administrator • Dance/Arts Officer • Lighting Designer/Technical Production • Costume / Set Designer • Dance Producer • Dance Photographer / Film Maker / Journalist • Composer for Dance • Dance Scientist • Dance Movement Therapist • Physiotherapy / Osteopathy • Health & Fitness e.g. Pilates, Yoga, Personal Trainer 3 University Undergraduate Degree Courses E.g. Middlesex, Roehampton, Chichester • A very wide range • Some offer Dance as a single subject • Some combined with another subject (Dance and Drama / Dance and Art) You can search on the UCAS website: http://www.ucas.com/ 4 Performing Arts Vocational Training School Often offer a wider range of dance styles, musical theatre focus, ballet focus… • E.g. London Studio Centre, • Bird College • Laine Theatre Arts, • Urdang Academy, • Central School of Ballet, • Arts Ed…. 5 Conservatoires Conservatoires UK is an umbrella The Conservatoire for Dance and Drama organisation for 11 specialist music, comprises 6 specialist schools performing -
The Actor-Dancer Conference September 2020 Ctor-Dancer
The Makings of the Actor: The Actor-Dancer Conference September 2020 https://themakingsactor.com/the-makings-of-the-actor-the-a ctor-dancer/ For info and booking please send your application and brief cv to: [email protected] Tuesday 1st September 2020 17.00 Dr Kiki Selioni, Artistic Director of The Makings of the Actor Welcome Keynote speaker 17.20 Prof. Vladimir Mirodan FRSA, Emeritus Professor of Theatre In Search of Grace: How Dancers Changed the Face of British Actor Training Vladimir Mirodan’s keynote speech takes a fresh look at the influential figures coming from the worlds of Continental dance and movement who transformed actor training in the British conservatoire. In the past, this topic has been approached mainly from a sociological perspective, notably in Mark Evans’ influential book on the subject. This time, Mirodan asks what effect dance-inspired approaches had not only on the bodies, but also on the aesthetic and spiritual development of actors trained by luminaries such as Michel Saint Denis, Rudolf Laban, Litz Pisk, Yat Malmgren, Jacques Lecoq and their disciples. Vladimir Mirodan, PhD, FRSA is Emeritus Professor of Theatre, University of the Arts London. Trained on the Directors Course at Drama Centre London, he has directed over 50 productions in the UK as well as internationally and has taught and directed in most leading drama schools in the UK. He was Vice-Principal and Director of Drama at the Royal Conservatoire of Scotland, Principal of Drama Centre London and Director of Development and Research Leader, Drama and Performance, Central Saint Martins. He is a former Chairman of the Conference of Drama Schools and a Deputy Chair of the National Council for Drama Training. -
A Time of Challenge 2021 a Time of Challenge 2021
COVID-19 PANDEMIC Accredited Professional Schools offering Vocational Training in Dance, Drama and Musical Theatre A Time of Challenge 2021 A Time of Challenge 2021 Contents Introduction This report is prepared on behalf of CDMT Accredited schools; institutions that together make an enormous contribution to the Introduction 03 sustainability and international profile of the UK creative industries, and with whom we share a mission for advancing outstanding The Accredited Vocational Training Sector 04 artistic performance. These professional schools and colleges have significant concerns The Challenges 06 about the support needed to restart the sector for business as we emerge from lockdown. The financial impacts on them, and their The Recommendations 10 networks, due to the Covid-19 conditions are of a significant order. We ask that the authorities address more directly the needs, both professional and financial, of these training establishments. Whatever decisions are made for the wider industry, including for theatres and other performance venues, consideration must also be made of the assistance needed to secure the existing ‘pipeline’ of highly trained future professionals on which the sector relies. Prepared by the Council for Dance, Drama and Musical Theatre First edition July 2020 Second edition March 2021 CDMT produces the annual UK Guide to Professional Training, Education and Assessment in the Performing Arts. CDMT Old Brewer’s Yard Covent Garden 0207 240 5703 Workman Robert 17-19 Neal Street London WC2H 9UY [email protected] 2 cdmt.org.uk -
Overture Cohort 2019/20
OVERTURE COHORT 2019/20 Ione Barton Ione is from Leeds and trained as an associate with Northern Ballet for 6 years before studying at Tring Park School for the Performing Arts where she worked with choreographers such as Douglas Thorpe and Chris Tudo. After graduating, she spent 3 years performing in Europe with companies such as Compagnia Opus Ballet, Budapest Dance Theatre and TENAX Teatro Studio Krypton and choreographers including Paul Dennis and Samuele Cardini. Returning to the UK in 2018, she joined the Yorkshire Dance’s Youth and Community Dance Team assisting a number of community programmes with children, adults with learning disabilities and older adults. Laura Bryars Laura began her dance training on the CAT scheme at Northern School of Contemporary Dance. After three years, she moved to London to continue her dance and musical theatre training at the Urdang Academy. She graduated in 2012 and has since worked professionally across the country with dance companies (Rambert and Phoenix Dance Theatre) and in musicals (The Fix, Billy Liar). She also went on a UK tour with the John Godber Theatre Company with ‘Teechers’. Laura currently teaches at Dance East, teaches adult ballet classes and runs a buggy bootcamp for mums in her local area. Amber Calland Amber trained at London Studio Centre in contemporary dance and has since completed her PGCE in FE Education. Amber works as a freelance artist in Manchester and Company Chameleon as a Dance Development Artist, predominately working with young people and those from vulnerable backgrounds. Alongside this, Amber is an Outreach Facilitator for the North West Centre for Advanced Training.