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Become one of the next generation of makers, thinkers and influencers in the arts. You study a broad range of modules which enable you to shape your degree around your own areas of interest. Our dynamic arts community is made up of students, graduates, academics, professional practitioners, and a team of technical specialists, so you are in the ideal environment to explore and develop your own distinctive style and creativity.
Our industry-standard facilities include three large workshop studios, a flexible black box theatre and a fully equipped professional theatre space seating 144. In these spaces you explore and develop the skills and expertise equipping you for a future in the arts and creative industries.
You benefit from the department’s close relationships with key local and regional arts organisations giving you the opportunity to enhance your practice in public. Our links with the profession are also reflected in our teaching staff, guest lecturers and opportunities for work placements.
All our modules incorporate an exciting blend of practical work and academic study enabling you to develop your critical understanding alongside your performative skills. Some of the many areas you can study are traditional text-based theatre, acting, comedy, puppetry, participatory and community performance, innovative contemporary performance, and gender and identity in performance.
At Kent we challenge the distinction between practical and theoretical study, which means that many of our modules include both written and performed assessments.
First-year modules develop your key skills and core knowledge, and introduce you to a wide range of theatre practices. You take two compulsory modules focusing on approaches to making performance; single honours students choose a further two modules.
In your second year you choose four modules from a range covering areas such as acting, popular performance, Shakespeare’s theatre, musical theatre dance, theatre history, disability and the arts, and physical theatre.
In your final year you choose three modules from a selection, covering areas such as participatory and community arts, stand-up comedy, performing lives, performing classical texts, physical theatre, playwriting, theatre and journalism, and arts funding and policy. You then either take a module in which you produce an original production in small companies, or you complete an independent written project.
You graduate from Kent with an understanding of theatre in all its forms and the creative competence to succeed in a future career in the arts or beyond.
It is possible to spend a year on placement gaining valuable workplace experience and increasing your professional contacts. You don’t have to make a decision before you enrol at Kent but certain conditions apply.
Single honours and three-year joint honours students can apply to spend a year or a term abroad studying at a university in a range of locations around the world.
Drama and Theatre students benefit from some of the best rehearsal, teaching, study and performance facilities in the UK, including:
There are a whole range of student-run societies. In previous years, students have had the opportunity to join:
The School of Arts organises special events that you are welcome to attend. These may include:
The School of Arts has developed links with some of the major players in the industry:
You are more than your grades
At Kent we look at your circumstances as a whole before deciding whether to make you an offer to study here. Find out more about how we offer flexibility and support before and during your degree.
All UK students will be invited to a practical workshop and informal group interview. Applicants not living in the UK, and those unable to attend, will be offered one-to-one Skype discussions in place of this. Please let us know if there are circumstances preventing from attending.
The University will consider applications from students offering a wide range of qualifications. Some typical requirements are listed below. Students offering alternative qualifications should contact us for further advice. Please also see our general entry requirements.
If you are an international student, visit our International Student website for further information about entry requirements for your country, including details of the International Foundation Programmes. Please note that international fee-paying students who require a Student visa cannot undertake a part-time programme due to visa restrictions.
Please note that meeting the typical offer/minimum requirement does not guarantee that you will receive an offer.
The University will not necessarily make conditional offers to all Access candidates but will continue to assess them on an individual basis.
If we make you an offer, you will need to obtain/pass the overall Access to Higher Education Diploma and may also be required to obtain a proportion of the total level 3 credits and/or credits in particular subjects at merit grade or above.
The University will consider applicants holding BTEC National Diploma and Extended National Diploma Qualifications (QCF; NQF; OCR) on a case-by-case basis. Please contact us for further advice on your individual circumstances. A typical offer would be to achieve DDM.
34 points overall or 15 points at HL
Pass all components of the University of Kent International Foundation Programme with a 60% overall average.
Please see our English language entry requirements web page.
If you need to improve your English language standard as a condition of your offer, you can attend one of our pre-sessional courses in English for Academic Purposes before starting your degree programme. You attend these courses before starting your degree programme.
We gain a lot of skills here that are useful in all sorts of jobs, which is a good thing.
Your confidence in your ability to present ideas improves and ultimately you become a lot more creative.
It's great to create work with people from different places, or who have different views to yours.
Duration: 3 years full-time (4 with a year abroad/in industry)
The following modules are indicative of those offered on this programme. This listing is based on the current curriculum and may change year to year in response to new curriculum developments and innovation.
On most programmes, you study a combination of compulsory and optional modules. You may also be able to take ‘elective’ modules from other programmes so you can customise your programme and explore other subjects that interest you.
This is a module about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre’. Students will be invited to see beyond their own default assumptions about theatre, and introduced to a diverse range of methods of devising their own performances. In practical workshops, they will learn about professional practice, warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a range of starting points, including (for example), space, body, voice, text, or character. This practical exploration will sit alongside an introduction to related aspects of history and theory. In seminars, students will be introduced to such concepts as theatre spaces, traditional play texts, non-traditional theatre texts, historical approaches to characterisation (e.g. Stanislavski, Mike Leigh), physical approaches to acting (e.g. Grotowski, Lecoq), and the different models for engaging an audience (e.g. Brecht, Boal). The experience will be enhanced by 4 ‘Theatre Forums’ within which students experience a short piece of performance by Theatre Companies/Performers who have emerged from the department, followed by an ‘open discussion forum, situating the work within the world of performance, and the influence that their university learning had in relation to their current practice. Students will be assessed by a short in-class performance and an essay. This module (together with Making Performance 2) will offer a solid foundation for all modules in years two and three which involve creative performance work.
Like Making Performance 1, this module is about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre’. Students will be further encouraged to see beyond their own default assumptions about theatre, and introduced to an expanded range of methods of devising their own performances. In practical workshops, they will learn more about warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a further range of starting points, including (for example), improvisation, music, audience, personality, and aural and visual stimuli. Workshops will be longer than in Making Performance 1, to allow for a more developed engagement. Not only will this allow more time for discussion of the assigned reading, but it will also allow students to start engaging with technical aspects of theatre-making. Students will be encouraged to develop their own ideas about theatre and performance through a series of lectures in which different Drama lecturers talk to the students about their ideas of what theatre is and could be, and how these ideas have been shaped by their encounters with theatre as audience members, theatre makers, and academics. This module (together with Making Performance 1) will offer a solid foundation for all modules in years two and three which involve creative performance work.
This module will introduce first year students to ideas of theatre and performance as sites of citizenship, through exploration of contemporary, popular forms such as music gigs, performance poetry and comedy. Students will learn to identify and analyse key features and techniques present in popular performance forms, and to relate performances to their commercial, cultural and political contexts. This will include understanding of how 'DIY'/commercialist principles of production shape the work, and discourses that position performances as fun/difficult, legitimate/illegitimate and as high/low culture. They will explore how popular performances interact with the politics of government, identity and taste, and will be introduced to key concepts and debates on the usefulness of popular entertainment in shaping citizenship and public opinion. Students will be encouraged to reflect upon the forms of popular culture which they themselves enjoy, exploring the extent to which these shape their own attitudes and behaviours, and will create pop-up performances which demonstrate this awareness. By the end of the module, students will have acquired a foundational understanding of: popular performance as a genre; performance as reflection of its cultural and political contexts; the extent to which performances implicate their creators and audiences as citizens.
The module introduces students to historical theatre traditions that are remote from present stage conventions and modern performance approaches to the study of Greek theatre. It offers a study of some of the key ancient Greek plays (in translation) and a detailed exploration of the societal conditions and theatrical realities of 5th century BCE, allowing for an understanding of theatre as an artistic product of a particular historical context and culture. Modern stage adaptations of Greek drama and methods of performing Greek theatre will also be considered through seminars and practical workshops, taking account of issues regarding historical and cultural transposition. As comparative foil, the module will also discuss non-European 'classical' traditions such as for example Japanese Noh theatre, and the Indian theatre tradition based on the Natyasastra
The aim of this course is to give students an understanding of a variety of practices, theory and historical contexts of masks and puppets in performance. By learning about different practices the students will develop a sense of the function and potential of objects in performance and training, as well as develop their own performance skills.
Screenings/lectures provide theoretical lenses and will focus on key practitioners and their historical, cultural and theatrical contexts. Practical workshops will deliver making skills and explore making performance, including instruction on diverse practical approaches to puppetry and/or mask work, rehearsal technique and supervised rehearsals. Students will be invited to explore beyond their assumptions and performance experience and will be introduced to the idea of play and risk as key components of the rehearsal process. Regular opportunities to present work and demonstrate understanding are built into the structure of the class. They will also reflect and feed back on the work of their peers.
The art historian Aby Warburg – an avid reader of Thomas Carlyle's philosophical novel about clothes Sartor Resartus (1836) – said that a good costume, like a good symbol, should conceal as much as it reveals. This module will take an interdisciplinary approach to the study of costume and fashion – the art that can be worn – in order to explore their roles in drama, film and the visual arts. The social values encoded by clothes, their relation to class or sexual identity, will be discussed, along with how these assumptions inform the use of costume in adaptations or stagings of texts, or how they colour our view of a character, or of a director’s interpretation (for example, using deliberate anachronism). The role of clothing and costume in the history of art will be analysed from artists’ representation of clothes, contemporary or otherwise, to their involvement in fashion design.
This module will look at disability in the arts, covering theatre, film and visual art. The students will engage with the historical representation of disability within the arts and the way in which disability scholars have critically engaged with it. The students will also look at arts institutions (i.e. theatres, cinemas and galleries) and the disabling barriers within those institutions that prevent the full participation of people with impairments in the arts. This will culminate in an 'accessibility review', whereby the students analyse the adjustments made by arts institutions for people with impairments and the extent to which they are effective. Finally, the students will engage with examples of contemporary disabled artists whose impairments informs the aesthetic qualities of their work.
This is a practice-based module exploring the photographic medium and the contexts of its use through the production of photographs in response to a project brief and group-based critical discussion of the work produced. Students investigate how the context in which photographs are made affect how the world is represented, and how in turn these images shape perception. Students choose two practical project briefs that are designed to enable them to explore the medium creatively and through informed and reflective practice. The emphasis of the module is upon this creative practice rather than the acquisition of specific technical skills, and as such students are at liberty to use any photographic production and post-production technologies they wish to experiment with or find appropriate. A camera phone and access to a computer and printer are all that is needed for this module, though students who wish to make use of digital image processing or analogue processes, including use of a darkroom, are encouraged to do so. Each of the practical project briefs will be supported through a series of lectures closely examining various genres, styles and other contexts of photographic production through the work of those who have shaped them. In addition students will present the work they have produced in response to their project briefs, and engage in a broad critical discussion or their own and other's work.
The course will introduce basic skills related to the craft of acting, predominantly within naturalist and realist idioms. This acting course will provide a core practical introduction to mainstream acting techniques descended from the teachings of Stanislavski and his heirs, as well as providing an introduction to contrasting practice and theories from other significant practitioners.
The course will introduce students through practical means, to basic terms and concepts in mainstream rehearsal-room practice. The students will develop a practical and usable understanding of a contemporary approach to the Stanislavskian system. Students will explore approaches concerning the use of detailed textual analysis when preparing a naturalistic role for performance and concepts to be introduced will include text analysis and uniting, actions and activities, objectives, obstacles, stakes, and given circumstances. On some level, this course will allow the student to explore varied and contradicting ideas from the world of actor training.
All of these concepts will be explored in practice through a combination of physical and text exercises, improvisation and close textual analysis. Students will be encouraged to adopt a critical overview of the work and to evaluate for themselves, both via class discussion and through reflective analysis on paper, the strengths and weaknesses of the techniques to which they are introduced.
Students' learning will be organised around research-based performance projects. These will be
based on detailed examinations of particular popular performance genres (for example, variety theatre, slapstick, cabaret, pantomime, radio comedy). Initially, students develop relevant performance skills, which might include, for example, addressing an audience, developing a stage persona, dance skills, singing, and/or simple acrobatics. In addition to this, they will be set research tasks relevant to the particular genre they are studying. These tasks will lead towards a research essay. They will work independently on devising and rehearsing material related to both the research and the skills acquired in workshops, testing this material in front of an audience made up of other students on the module. Subsequently, they will develop their material to create a show in the style of the assigned popular performance genre, which will be performed to a public audience.
This module engages with the plays of Shakespeare and his contemporaries as texts for performance; approached through a variety of critical, theoretical and practical methods. It considers the theatrical, cultural and historical conditions that produced and shaped them; examines the role played by the drama in a violent, volatile and rapidly-changing society; investigates and applies the principles of early modern playing spaces and performance practices, and considers the variety of ways in which these works have been encountered and reinvented in the modern period.
This module studies different approaches to physical training for performance. It covers examples from around the world, though developments in Europe during the twentieth century provide a focus for the module. The module is oriented towards training for 'physical theatre' – a term which emerged at the end of the twentieth century and refers to a shift away from script, playwright and linear narrative. As such naturalism and the work of Stanislavski do not fall within the remit of this module.
Students will gain valuable practical experience of physical training in weekly workshops where they will explore the fundamental principles of training the body. Indicative areas include:
• Posture, centre, balance, energy, space, tension, relaxation, sound within the body.
• Precision and clarity in movement
• Presence, spontaneity and improvisation
The module makes elementary investigations into the relationship between training and performance composition, an aspect which will be further explored in Physical Theatre 2.
Practice will be contextualised by historical and theoretical reading that explores the landscape from which the term ‘Physical Theatre’ emerged in the twentieth century. Key historical figures include: Jacques Copeau, Antonin Artaud, Edward Gordon Craig, Jerzy Grotowski, Eugenio Barba, and Jacques Lecoq, among others. Grotowski’s term ‘Poor Theatre’ is a crucial starting point for the module, and we explore how a performer might be prepared for a performance style that focuses so fully on the performer’s body in space, and the demands that come with that style. Eugenio Barba’s ideas about ‘pre-expressivity’ and the study of performer training across different cultures and disciplines are also important.
Students will explore the historical and cultural contexts through which the genre of musical theatre dance developed. Learning will be organised around detailed examinations of particular periods of musical theatre dance including its interface with popular dance forms in the 1920s and the emergence of variety and Vaudeville theatre; the integration of Latin, Indian and African influences through the 1940s, 1950s and 1960s; the standardization of jazz in the 1970s; and the influences of ballet, cabaret, and burlesque theatre across the century's period styles. Weekly workshop sessions will include a comprehensive isolation-based musical theatre/jazz warm-up, followed by movement studies focused in specific periods and the learning of a section of musical theatre dance performance. In addition, students will view and analyze filmed musical dance numbers and other performances from specific periods. Attendance at one full-length live or filmed-as-live musical performance will also be required. These tasks will lead towards a critically informed research essay focused on a period, artist, or musical of the students’ choice.
Recent theatrical productions as diverse in form as experimental performance, new writing, musicals and live art have shown a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. The transition of an existing source or stimulus to the stage – be it film, book, play, artwork, or other performance – is not a smooth one. It implies negotiations of numerous kinds, such as interlingual and intercultural, but also ideological, ethical, aesthetic and political. Drawing on the work of contemporary international theatre-makers, this module will explore specific approaches to stage adaptation, study adaptation methodologies and develop an understanding of the implications of adaptation. Through seminar discussions, practical and creative work, the module will prompt a reflection on performance's near-obsessive desire to return, rewrite and repeat, establishing a dialogue across languages and cultural identities.
During lectures, students will study several adaptation projects and strategies, which will form the basis for an essay. During seminars, students will experiment with a source of their choice and produce a simple, tech-light group performance based on this source, for which they need to be able to rehearse in the classroom, without any technical assistance. The presentation of the group performance will be followed by a reflective essay on the chosen source and its afterlife, an analysis of the group's performance, and any other supporting material. The students are expected to keep their performance time and tech to a minimum, and will not be provided with technical support or extra rehearsal space for this module.
This module addresses issues that are central to performance studies and to contemporary social and political debates through its focus on the representation and performance of sex, gender and identity. The module explores these ideas in relation to a diverse range of trans-historical performance examples.
Students will explore changing concepts of gender and sexuality and will consider how performance and performers have engaged with these social changes by examining both contemporary and historical case studies. The module explores questions of self, authenticity, performing difference and identities in transition. Students will interrogate performance using a range of theoretical approaches drawn from gender and sexuality studies in dialogue with practical experimentation. Drawing on this knowledge, students will have the opportunity to develop contemporary performance inspired and shaped by the models of practice which they have encountered. Issues of risk and ethics will be core concerns as students develop understanding of how sex, gender and identity can create a performance aesthetic.
You have the opportunity to select elective modules in this stage.
Your placement year takes place between your second and final year. It is a great opportunity to gain workplace experience, increase your professional contacts and acquire new skills, and is a valuable addition to your CV.
You can take your placement year in the UK or abroad with a wide range of employers in areas including the arts, education and cultural heritage. While you are responsible for finding your placement, we offer support and guidance through the application process.
Tuition fees for the placement year are greatly reduced and employers may offer expenses or a salary.
The placement year is assessed on a pass/fail basis and does not count towards your final degree classification.
Going abroad as part of your degree is an amazing experience and a chance to develop personally, academically and professionally. You experience a different culture, gain a new academic perspective, establish international contacts and enhance your employability.
All students within the Faculty of Humanities can apply to spend a term or year abroad as part of their degree at one of our partner universities in North America, Asia or Europe. You are expected to adhere to any progression requirements including achieving a merit at Stage 1 and Stage 2 to proceed to the term or year abroad.
The term or year abroad is assessed on a pass/fail basis and will not count towards your final degree classification. Places and destination are subject to availability, language and degree programme. To find out more, please see Go Abroad.
The module gives School of Arts students across a range undergraduate programmes the opportunity to undertake a written independent research project at stage 3.
Students who wish to take the module must approach a permanent academic member of staff with a proposal, typically in advance of module registration, during the Spring term of the previous year. Students pick a research topic of their choice; however, students are only allowed to register for the module with the permission of a staff member who has agreed to supervise the project, and who has the expertise to do so. Potential supervisors must also ensure before they agree to supervise a project that the resources required to complete the project will be available to the student, and that adequate supervisory support will be available to the student throughout their study on the module.
Students will be supported in the preparation and submission of their work by their supervisor, although a central expectation of the module is that students will take increasing responsibility for their learning, consistent with expectations of Level 6 study.
Students will engage in a work-based situation of their choice. The student will be responsible for finding the work-based situation, though support from the School and CES will be available. The internship should bear relevance to their subject of study or a career they expect to pursue upon graduation. The total of 300 hours will be divided as required for purposes of preparation, attendance of work placement and reflection/completion of required assessment.
This interdisciplinary course will examine historical and current theoretical ideas and research on the ways in which art is created and perceived. Artforms that will be considered include visual arts (painting, sculpture, architecture, popular art), performing arts (dance and theater), music, and film. Readings will interface with subdisciplines of psychology such as perception, psychoaesthetics, neurophysiology, social psychology, and studies of emotion. Principal areas of focus will include aesthetics, arts-experimental design, perception of art, meaning in art, the psychology of the creative process, social and cultural issues, and the ramifications of arts-sciences research. The primary focus will be on Western art forms, though other world art traditions and aesthetics will also be discussed. Assessment methods will test understanding through a summary and critical reflection on a selected text and the proposal, research, and design and oral presentation of a potential interdisciplinary research project.
This module explores critical and creative approaches to working with real lives in performance. You will examine how auto/biographical and documentary material is used and manipulated to construct identity in and through performance. You will question the concept of the 'true story' and explore the ethics and practicalities of using the personal in performance. You will also work creatively to produce a practical project on auto/biographical theatre. In this module you will work with a range of dramatic material and forms, studying, for example, play texts, performance art, verbatim and documentary theatre. You will also engage with a range of theoretical approaches and perspectives.
This module introduces participatory theatre in its various forms, and considers the historical and social context in which it has developed. It offers students the opportunity to both understand and apply workshop techniques, planning, facilitation and management of projects within a participatory theatre context. Practical work is based on a theoretical understanding and grounding in the historical and social contexts of the form. The module will be structured in 2 distinctive parts:
The first introduces and considers the historical development, current debates, methodologies and case studies within the field. This stage of the module will include a range of lectures, seminar discussions, and exploratory/task-based workshops. The second stage will focus on developing associated practical skills to include project planning, management, workshop and facilitation skills.
The aim of this course is to introduce students to the specific acting challenges presented by the classical texts of Shakespeare and his contemporaries and to facilitate, through practice, an in depth examination of proven analytical and practical approaches to these challenges. Instruction in the analysis of language structure and verse forms, verse structure, style, metre, imagery and language texture forms a key component to this course.
Through a classical repertoire, the student will be taught a systematic analysis of verse structure which, they will learn, is an integral part of an actor's development. This work on unambiguous structural matters will enable the student actor to articulate experience in time, avoiding the risk of leaving performance at the level of the pursuit of feeling and expression. Focus will also be placed on how this analysis can direct the performer, facilitating discovery in both action and character.
The course will also create an awareness of the vocal, physical and emotional demands placed on the performer when working with these plays and through practice, promote knowledge of how the actor’s instrument can meet these demands.
The module will run in two parts, the first part focusing on the demands of the verse monologue and its performing challenges, culminating in a solo performance assessment. The second part will explore performance text analysis when working with group scenes and how this analysis can direct the performer. The course will close with assessed practical scene performances taken from classical texts accompanied by a written scene analysis for later submission.
The module explores 'physical theatre' as a complex and rich term which describes works focusing on the primacy of the body in performance rather than text or character. It will focus on how Physical Theatre practitioners have deployed compositional techniques, and the principals that underlie such work. It differs from Physical Theatre 1 in focussing less on training for performance and much more on composition and different possibilities of structuring Physical Performance, using space, sound, movement, rhythm and the body.
Students will conduct in-depth investigations into the relationship between training and performance and devising techniques and compositional approaches through weekly practical workshops.
This module will introduce students to practical and theoretical aspects of stand-up comedy. Initially, they will analyse the work of individual comedians, exploring such issues as comic theory, traditions of stand-up, and historical context. Later, they will work on creating their own short stand-up acts, generating original material and developing key performance skills such as developing persona, working an audience, improvisation, and characterisation.
The module will offer students the chance to work on an independent creative project of their own devising, which will be a culmination of practical elements of their degree programme. Performance, workshop, design, stagecraft, producing or other creative skills encountered in earlier modules will be developed, extended and explored in autonomous work, which will be supported by regular group supervision sessions. Projects will also involve research which will contextualise the practical elements.
Supervision will take place in timetabled teaching slots, in which students involved in several projects will be supervised together. Practical outcomes might take the form of performances, workshops or public interventions.
This module will ask students to critically engage with fundamental questions about theatre, such as 'what is performance?', 'who decides what a performance means?', 'why do we care about the fates of fictional characters?', 'why do we enjoy watching tragic events on stage?', 'what ethical questions does performance raise?', 'can performance be a kind of philosophy?'. After writing an essay focussing on one of these questions, the class will then turn its attention to a specific performance text and the various conceptual and philosophical questions that arise from it. Once they have engaged with a range of theoretical perspectives on the text the course will culminate in an assessed presentation where the students propose a production which engages with these issues.
You have the opportunity to select elective modules in this stage.
The 2021/22 annual tuition fees for this programme are:
For details of when and how to pay fees and charges, please see our Student Finance Guide.
For students continuing on this programme, fees will increase year on year by no more than RPI + 3% in each academic year of study except where regulated.*
The University will assess your fee status as part of the application process. If you are uncertain about your fee status you may wish to seek advice from UKCISA before applying.
Fees for Home undergraduates are £1,385.
Fees for Home undergraduates are £1,385.
Students studying abroad for less than one academic year will pay full fees according to their fee status.
The following course-related costs are included in your tuition fees:
The following course-related costs are not included in your tuition fees:
Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. See our funding page for more details.
You may be eligible for government finance to help pay for the costs of studying. See the Government's student finance website.
Scholarships are available for excellence in academic performance, sport and music and are awarded on merit. For further information on the range of awards available and to make an application see our scholarships website.
At Kent we recognise, encourage and reward excellence. We have created the Kent Scholarship for Academic Excellence.
The scholarship will be awarded to any applicant who achieves a minimum of A*AA over three A levels, or the equivalent qualifications (including BTEC and IB) as specified on our scholarships pages.
Teaching is through workshops, seminars, lectures and practical projects. Most Drama and Theatre modules are continuously assessed on the basis of coursework, projects and presentations, performances, essays and dissertations.
For a student studying full time, each academic year of the programme will comprise 1200 learning hours which include both direct contact hours and private study hours. The precise breakdown of hours will be subject dependent and will vary according to modules. Please refer to the individual module details under Course Structure.
Methods of assessment will vary according to subject specialism and individual modules. Please refer to the individual module details under Course Structure.
This programme aims to:
You develop knowledge and understanding of:
You develop intellectual skills in how to:
You gain subject-specific skills in:
You gain the following transferable skills:
All University of Kent courses are regulated by the Office for Students.
Based on the evidence available, the TEF Panel judged that the University of Kent delivers consistently outstanding teaching, learning and outcomes for its students. It is of the highest quality found in the UK.
Please see the University of Kent's Statement of Findings for more information.
Drama and Cinematics at Kent scored 94% overall and was ranked 12th for research quality in The Complete University Guide 2021.
Drama and Cinematics at Kent was ranked 21st out of 93 in The Times Good University Guide 2021.
Our graduates have developed careers as:
Some have gone on to work for major players in the West End and for theatre companies. These include:
We also support past students to set up companies and remain in Kent with the Graduate Theatre Scheme. Successful professional companies who started with us include:
Our graduates include:
The School of Arts works hard to maintain strong links with professionals throughout the industry, as well as with major players such as:
We run the Kent Arts Network (KAN), which connects students, staff, alumni and friends from the creative industries. It gives you the chance to discover possible career paths and establish connections with current professionals.
The University’s Careers and Employability Service offers advice on how to:
Alongside specialist skills, you also develop the transferable skills graduate employers look for, including the ability to:
You can gain extra skills by signing up for one of our Kent Extra activities, such as learning a language or volunteering.
If you are from the UK or Ireland, you must apply for this course through UCAS. If you are not from the UK or Ireland, you can choose to apply through UCAS or directly on our website.Find out more about how to apply
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Find out more about the Unistats dataset on the Higher Education Statistics Agency website.