Theatre

Drama and Theatre - BA (Hons)

UCAS code W400

2018

You study contemporary performance practice and theatres of the past in an outstanding department. You develop the skills, knowledge and creative vision needed for a career in professional theatre, other creative and media industries or related fields such as education, publishing and beyond. Come to Kent if you want to shape the theatre and world of the future.

Overview

Drama and Theatre at Kent is based in the School of Arts, a creative and academic hub for students in drama, film, media studies and art history. Together we occupy the award-winning Jarman building, which houses outstanding Drama and teaching facilities. We have our own industry standard studios and a 120-seat theatre. As part of an inclusive and creative community you will benefit from working and studying alongside staff and students who are passionate about their subject.

As a Drama and Theatre student at Kent, you will work alongside world-leading academics with a wide range of specialisms in areas such as contemporary performance, European theatre, theatre history and Shakespeare, comedy, and community-based theatre. You will also be taught by academics who are theatre professionals with real and current industry experience in theatre design, acting, directing, stage management, dance, stand-up comedy, and arts funding. You will also learn from our professional technical team, which includes a workshop manager and three technicians.

Your Drama and Theatre degree at Kent is as rigorous and challenging as any subject in the Humanities, but as well as developing your critical and analytical writing abilities, our programme allows you to build practical skills that are transferable to any industry, not just theatre.  At Kent you will cultivate the skills in creativity, performance, project management, leadership, communication and teamwork that give our graduates outstanding and proven employment prospects. 

Our degree programme

At Kent we challenge the distinction between practical and theoretical study, which means that many of our modules include both written and performed assessments. 

Currently, in your first year you learn a variety of performance skills, technical theatre disciplines, how to work creatively and safely on and behind the stage, all the while being introduced to key ideas, practitioners and theatre histories. 

In your second year you begin to shape your own degree with an impressive range of modules to choose from. For example, you might be able to focus on European theatre, acting, costume and fashion, physical theatre, Shakespeare, avant-garde theatre or popular performance. 

In your final year you complete an independent or creative project, and can choose specialist modules from a wide variety which may include playwriting, performance, applied theatre, stand-up comedy or arts funding, or else develop further the areas studied in your second year. The year ends with a programmed festival of student work in the summer term.

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.

Year of professional experience

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. 

Year abroad

We offer the option to study abroad for a term or a year at one of our partner institutions in Europe, the USA or South Africa. You don’t have to make a decision before you enrol at Kent but certain conditions apply. 

Study resources

Drama and Theatre students benefit from some of the best rehearsal, teaching, study and performance facilities in the UK, including: 

  • industry standard Jarman studios with heated semi-sprung floors, lighting rigs and a spacious control box housing the latest equipment 
  • the 120-seat Aphra Theatre 
  • the Lumley studio 
  • a fully equipped construction workshop 
  • a sound studio 
  • the 340-seat Gulbenkian Theatre, which offers industry placements on campus, as well as a year-round visiting professional programme of theatre 
  • the University’s Templeman Library, which is renowned for its drama and theatre manuscripts, including collections of playbills, prints, programmes and other theatre ephemera 
  • Digital Theatre Plus, which provides full-length films of British theatre productions, in addition to interviews with the cast and the creative and production teams. 

Extra activities

There are a whole range of student-run societies. In previous years, students have had the opportunity to join:

  • T24 Drama – produces and puts on six shows a term
  • Musical Theatre – produces musicals and musical showcase
  • Circus – a collective of artists and creative characters
  • Glee – a choir for people who love to sing
  • Costume for Stage and Screen – design and sew costumes
  • Music Society – orchestras, chorus, concert and big bands
  • Sports Societies – over 45 to choose from and extensive facilities.

The School of Arts organises special events that you are welcome to attend. These may include:

  • guest workshops and talks by professionals from the world of theatre
  • symposia
  • seminars
  • conferences and exhibitions.

Professional network

The School of Arts has developed links with some of the major players in the industry:

  • Bobby Baker
  • C&T theatre
  • Gulbenkian Theatre
  • Little Bulb Theatre
  • Marlowe Theatre
  • Thomas Ostermeier
  • Oily Cart
  • Reckless Sleepers
  • Shakespeare’s Globe.

Independent rankings

For graduate prospects, Drama at Kent was ranked 9th in The Complete University Guide 2017. Drama and Theatre students who graduated from Kent in 2015 were the most successful in the UK at finding work or further study opportunities (DLHE).

Drama at Kent was ranked 16th in The Complete University Guide 2017. In the National Student Survey 2016, 92% of students were satisfied with the quality of teaching.

Course structure

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 ‘wild’ modules from other programmes so you can customise your programme and explore other subjects that interest you.

Stage 1

Possible modules may include Credits

The aim of this 12 week course is to give students an understanding of a variety of practices, theory and historical context of mask in performance. By learning about different mask practices the students will develop a sense of the function and potential of mask in performance and performer training, as well as develop their own performance skills through the medium of mask

The module will be taught across twelve weeks and will be split evenly between history/theory and practice.

Practical classes will include instruction in diverse practical approaches to improvisation, 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. Students will be introduced to a range of mask and associated techniques (e.g. neutral/noble mask, character mask, commedia). Sessions will start with appropriate physical and vocal warm-ups. Students are expected to take responsibility for their physical readiness to participate in all classes (and to ensure that they bring to their teacher's attention any circumstances that may prevent their full and active involvement in the work). Regular opportunities to present work and demonstrate understanding are built into the structure of the class. They will also reflect and feedback on the work of their peers.

Lecture/screening sessions will feature presentations, interactive lectures, screenings and opportunities for discussion. These sessions will focus on developing an awareness of key practitioners, theories of mask, and historical, cultural and theatrical contexts of mask work.

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This module will introduce the students to the history of comic performance, from Ancient Greece to the turn of the 20th Century, before looking at the development of comedy on screen through the 20th and 21st Century. The module will introduce the students to a range of comic performances and films, and contextualise them within their historical setting. It will seek to address key questions, such as how the comedy reflects the social and political situation of its creation and the extent to which comedy can be 'timeless'. Additionally, historical research into kinds of comic performance that the students might be less familiar with, such as Commedia dell'arte, will provide a critical foundation for them to engage with more contemporary examples of comedy.

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Stage 2

Possible modules may include Credits

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.

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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, singing, and/or simple acrobatics. In addition to this, they will be set weekly research tasks relevant to the particular genre they are studying. These tasks will lead towards a research essay, which will typically relate to the piece they go on to perform in the final assessed show. 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 in their weekly all student practical session. 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.

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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.

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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, and are covered by ‘Acting’ in Stage II.

Students will gain valuable practical experience of physical training in weekly workshops where they will explore the fundamental principles of training the body. These 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(DR664).

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, Rudolph von Laban 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.

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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.

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This module will introduce students to the emergence and development of 'site specific' performance through the 20th Century and into the 21st Century, interrogating what has progressively become a generic label applied to a range of theatre/performance forms which embrace ‘site’ however tenuous this relationship might be. The module explores the context in which ‘site’ becomes the determining feature in the creation of artistic and theatrical works in the mid-20th Century, specifically considering the development of site/land art, installation art, celebratory community theatre and the subsequent influence of this work on the emergence of ‘site specific’ performance and current practice. The module will introduce students to a range of practitioners who explore the ‘site’ of performance from a number of perspectives, and the theoretical contexts in which these approaches might be considered.

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This module will investigate key texts and practitioners of post-World War II European theatre. The course will provide an introduction to some key European playwrights (e.g. Genet, Beckett) and practitioners (e.g. P. Brook, A. Mnouchkine, D. Fo) through looking at significant play texts, landmark productions and theatre practices in their social context and conditions of performance.

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The primary aim of the module is to introduce students to the principles and practices of theatre history, and therefore in order to make best use of the staff team’s research specialisms, the historical focus of the curriculum will vary. The module offers not only a study of the major canonical texts of the period but also a detailed exploration of the societal conditions and theatrical realities of its time, allowing for an understanding of theatre as an artistic product of a particular culture. Modern revivals of classical texts will also be considered, taking account of issues regarding historical and cultural transposition.

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This module addresses the influence of the early avant-garde on later experimental performance forms such as performance art and multimedia performance. It examines the impact of new technologies on performance and representation throughout the last century, and explores the relationship between media culture and theatre practice. Key modernist and postmodernist practitioners are discussed as the module traces the evolution of multimedia theatre and performance art. Students analyse how time, space and bodies manifest within a diversity of contemporary media art and performance art, and focus is placed on the nature of audience engagement. The module also considers questions concerning the live and mediated aspects of performance, and explores concepts such as 'liveness', ‘the body’, ‘intermediality’, ‘posthumanism’ ‘public space’ and ‘participation’.

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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 repertory. In addition, students will view filmed musicals and other performances from specific periods and present critical analyses of these in small groups during seminar classes. Attendance at three live musical performances will also be required. These tasks will lead towards a research essay focused on a period, artist, or musical of the students’ choice.

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Recent theatrical productions as diverse in form as experimental performance, new writing, West End drama, 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 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, repeat, rewrite and revisit, establishing a dialogue across languages and cultural identities.

During seminars, students will study several adaptation projects and strategies, which will form the basis for an essay. During practice-based workshops, students will experiment with a source of their choice and produce a research and development portfolio for a performance project based on this source. The portfolio may include an essay on the chosen source and its afterlife, a treatment on their proposed adaptation approach, and a brief director’s statement for marketing purposes, aimed at communicating their ideas to the general public. If the student wishes so, the portfolio may be supported by a brief practical demonstration, promotional video or other creative material, but 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.

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You have the opportunity to select wild modules in this stage

Year in industry

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.

Year abroad

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.

Stage 3

Possible modules may include Credits

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.

Three is the minimum number of students that may be involved in a project, and no project involving fewer than three will be accepted.

Supervision will take place in timetabled teaching slots, in which students involved in several projects will be supervised together. Typically, the number of students involved in a timetabled supervision session will be 15-18 (like a seminar group). Practical outcomes might take the form of performances, workshops or public interventions; some projects might culminate in one big practical outcome, whereas others will involve a series of smaller events.

The practical elements will be supplemented by a portfolio which will document the creative process. Typically, this will collect contextual research, include analytical reflection and may include audio and/or video material, photographs, drawings, etc.

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On application, students may take this 30 Credit Year Long module. Admission is subject to approval of a project proposal. Proposals must be submitted to the Module Convenor by 07/04/2017. Within your proposal you must state a preferred supervisor with whom you should have consulted. The proposal form can be downloaded from the School of Arts website, see www.kent.ac.uk/arts/current-students/undergraduates.html and click on module availability. Alternatively you can request a copy at Jarman Reception. The Module Convenor will contact you in the summer term to confirm whether your proposal has been accepted. Students wanting to change into ART500 at a later stage maybe permitted to do so (subject to the suitability of the application and the availability of the supervisor) but should contact the Module Convenor and submit a proposal at the earliest opportunity. Proposals will not be accepted after 12/06/2017 unless there are exceptional circumstances, for which there is a separate procedure and timetable in September. If students wish to make an exceptional application for consideration in September, prior to the start of term, this needs to be submitted through the potential supervisor who will write an accompanying supporting statement. This would need to verify the proposal, confirm supervisory responsibility and endorse the student's ability to complete the project on time. Students should expect to undertake preliminary research over the summer and to see their supervisor before the summer vacation begins. Hence, late applications will only be accepted if supervisors are convinced that students are sufficiently prepared for the independent study and have already undertaken prior research. Applications for consideration as exceptional circumstances in September need to be submitted between 04/09/17 and 18/09/17. Students cannot transfer onto ART 500 after the start of term. For more information please speak to the Module Convenor at the School Fair."

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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. For further information please talk to the module convenor at the School of Arts Module Fair.

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Films in certain genres, such as the Western, action film and martial arts film, are often gendered masculine, their powerful, active and typically violent male protagonists seen as representing masculinity. There is, however, also a long tradition of transgressive female protagonists in "male" genres, and this module investigates such characters. In addition to giving an overview of various types of transgressive female protagonists, the module explores in depth one or a few type(s) of transgressive female protagonist depending on the convenor's research interests. Case studies may include American action film, martial arts film, Blaxploitation/exploitation film, rape-revenge film, Western, crime film/television, film noir and horror in film and television. For example, in the action film the female protagonist’s display of power and strength may be seen as masculine, but she is often also portrayed with stereotypically feminine traits such as beauty and a sexy appearance. The female protagonist is thus often perceived as standing between the masculine and the feminine. Among the many questions triggered by transgressive female protagonists, this module might explore whether this character can and should be perceived as feminist or merely as exploitative, and how and why such protagonists may appeal to a female audience in particular.

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This module will look at disability in the arts, covering theatre, film and visual art. There will be three sections to the course relating to the three assessment points. First, 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. This will culminate in an essay that will focus on the history of disability representation in theatre, film or visual art. Second, the students will 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 inform the aesthetic qualities of their work. This will culminate in an essay that will focus on a case study of a contemporary disabled artist.

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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.

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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.

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Students will explore the historical and cultural contexts of mainstream 20th century musical theatre/jazz dance by engaging with the aesthetic, technical and stylistic specifics of seminal choreographers such as Jack Cole and Bob Fosse. Learning will be organised around and oriented toward demonstrated understanding of the influences on influential figures and on jazz and musical theatre dance at large of different dance cultures and styles (Indian, African and Latin dance) and the genres of ballet, modern dance, social dance, cabaret, and burlesque theatre. This understanding will be demonstrated through students' creation of dance choreographies in the style of choreographers covered within the module, contingent on skill level.

The module differs from Introduction to Musical Theatre Dance (DR684) in its focus on the development of enhanced dance technique and style and in its creative element of composition.

Weekly workshop sessions will include a comprehensive isolation-based musical theatre/jazz warm-up, followed by movement studies focused in depth on the technique and style of the choreographer(s) covered. In addition, students will view filmed musical theatre dance numbers and present critical analyses of these, as well as of assigned readings, in small groups during seminar classes. Viewing or attendance of two full-length musical performances (at least one live) will also be required; provision for zero-cost options will be offered. These tasks will lead towards the composition and performance of student choreographies in small groups and a reflective research essay detailing the process through which the choreography was developed.

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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.

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Through weekly lectures, seminars and practical workshop sessions, the course will allow students to write scenes and experience the results and effects of their playwriting as performed by others, in the context of on-going discussions about the practice and characteristics of playwriting and with a strong emphasis on the importance of revision and development of evolving work as mediated by the constructive criticism of group and convenor response.

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This module will look at arts funding policy and public funding structures for the arts, including the formation of the Department of Culture, Media and Sport (DCMS), and the Arts Council and its various models of operation since 1947 through to the current changes being introduced. This will serve to place productions from across the arts within the context of who makes policy and how it is formed, while acting as an introduction to arts funding and the application and measurement process. Students will gain an understanding of the structure of central, regional and local government in as much as they affect the arts. Trust and Foundations that support and nurture the arts are also explored in the context of how these can supplement and develop productions. Sponsorship and commercial involvement is looked at in the ways that this can be integrated into the package. They actively examine and engage with current arts funding issues, aiming to give them the skills to talk with authority to leaders in the arts and funding environment.

In groups and then individually, students will develop their own creative idea, and argue why it should be considered by the Arts Council for funding. The module assesses their creativity and their ability to deliver an idea, including how they will develop audiences and finance and manage their project, meeting the Arts Council's mission of Great art and culture for everyone.

Overall, this module provides students with skills for future career in the arts, either as practitioners or in the administration and delivery, by providing them with useful preparation to realise creative projects in real life in their future. Students who have completed this module have gone on to work in a variety of roles in the arts, including managing and preparing funding applications for the arts.

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This module engages with Shakespeare by considering its unique resilience as a body of plays, focus of cultural mythology, and source of inspiration within modern theatrical culture. As well as surveying the Shakespeare work of major practitioners (The RSC, National Theatre, Shakespeare's Globe), the module will involve at least two theatre visits, as well as hands-on engagement with performance-making, performance reconstruction, and historical research.

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This module offers students the opportunity to understand and apply workshop techniques, planning and management in an Applied Theatre context. Practical work will be based on a theoretical understanding and grounding in the historical and social contexts of Applied Theatre. The module will be structured in 2 distinctive parts:

Part 1:

The first six weeks of the module will introduce and consider the historical development of applied theatre, current debate, 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

Part 2:

The second stage of the module will focus on developing the practical skills to include project planning, management, workshop and facilitation skills. During this stage students will work in groups within a community context and culminating in a workshop that they will lead with a designated client group in the final weeks of term. Each group will present plans and be expected to evidence these in the form of a company profile. Students will be required to reflect and evaluate the process through a written piece of work focussing on a particular area of research related to the workshop (3,500-4,000 words).

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The aim of this 12 week course is to introduce students to the specific acting challenges presented by the classical texts 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 with weeks one to four focusing on the demands of the verse monologue and its performing challenges, culminating in a solo performance assessment. The remaining weeks (6 – 11), will explore performance text analysis when working with group scenes and how this analysis can direct the performer. The course will close in week 12 with assessed practical scene performances taken from classical texts accompanied by a written scene analysis for later submission.

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This module engages with a diversity of approaches to theatre directing through a series of workshops, lectures, seminars, videos, and practical experiments. The module opens with a programme of lectures and exercises that explore the relations between directing and performance, design, writing and composition. This culminates in an assessed group project to be performed in which students will engage with and interrogate directing as practice. The module continues with a series of theme-based workshops on such topics as 'interrogating the classics', ‘directing vs devising’ and ‘directing with new technologies’. Practitioners studied will vary each year but an indicative list might include Robert Lepage, Katie Mitchell, Simon McBurney, Ariane Mnouchkine, Frank Castorf, Thomas Ostermeier, Romeo Castelluci and Robert Wilson. The module will consider directing in relations to live art and new performance and will explore issues of gender, race, culture and sexuality within the practice of directing. In terms of its content, delivery and assessment, this module is designed to be innovative, collaborative and student-centred.

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You have the opportunity to select wild modules in this stage

Teaching and assessment

We are renowned for our innovative teaching and assessment methods, which include modules that allow you to: 

  • perform in a variety of styles and settings
  • create exhibitions or work in the community 
  • write your own stand-up routine or produce a variety show
  • attend a variety of theatre shows and write reviews
  • discover how the arts industry works
  • learn how to watch performances and read texts critically
  • learn about theatre from different times and cultures

Programme aims

This programme aims to:

  • provide a stimulating environment which encourages and assists you to achieve your creative and intellectual potential
  • produce independent, motivated graduates who are equipped to meet the needs of, and to contribute creatively to, the theatre and associated media and professions
  • develop critical judgement and personal organisation skills to enable you to respond positively to the challenges of further study, training or employment in relevant career destinations
  • enhance the learning experience through a range of teaching and assessment methods that reflect and respond to the values and diversity inherent in drama and theatre studies
  • provide teaching that is informed by research and current developments in the pedagogy of drama and theatre as well as theatre practice and the arts
  • provide a broad grounding in the subject in the early stages of study, becoming increasingly specialist in the later stages
  • provide you with creative competence and understanding that is grounded in (and prepares for) professional practice
  • offer you the opportunity to apply to undertake a term or year abroad or a year’s placement in industry.

Learning outcomes

Knowledge and understanding

You develop knowledge and understanding of:

  • key practitioners, practices and theorists of performance, including writers, critics, directors, actors, artists, designers and producers
  • historical and contemporary contexts of the production and reception of performance
  • the relationship of performance to its material, cultural and historical context.
  • histories, forms and traditions of performance and theoretical explanations of their impact
  • traditional and contemporary critical perspectives that inform the academic study of performance
  • the interplay between theory and practice
  • the processes by which performance is created, realised and managed including: the reading of written text and other source material; processes of rehearsal; writing and dramaturgy; devising, directing, design, stage and technical management and producing
  • the impact of theatre and performance within a range of social, educational and community contexts
  • the reading, analysis, documenting and interpreting of performance
  • the role of the audience; the performance and production skills necessary to communicate with audiences.

Intellectual skills

You develop intellectual skills in how to:

  • read, understand and engage analytically with a range of texts, performances and other source material
  • research, evaluate and productively apply information from a number of sources (written, visual, aural) in order to develop and present a coherent understanding of the theory and practice of performance
  • critique performance events and processes
  • undertake and manage extended independent and creative research
  • understand processes of creativity and deploy and critique these in your own work
  • record, document and analyse processes of making performance
  • understand and apply appropriate interdisciplinary practices, concepts and skills
  • present coherent arguments verbally and in writing
  • understand the relationship of performance to a range of critical, historical and cultural frameworks for its production and reception.

Subject-specific skills

You gain subject-specific skills in:

  • reading and evaluating scripts, performance texts and other theatre documents from a range of critical and practical perspectives
  • envisioning the performance possibilities of a play text, script and other textual or documentary sources
  • realising performances derived from a range of starting points (for example, a script; a theoretical position; documentary material; a specific location) and using a range of techniques, structures and working methods to develop those performances
  • engaging and collaborating in production and performance
  • engaging with current debates on theatre arts, productions, cultural policy and funding
  • practising creative, physical and vocal skills for practice-based work, including appropriate warm-up exercises and techniques
  • using technical apparatus and associated resources necessary to realise the demands of production in live and recorded performance safely, efficiently and effectively
  • documenting performance processes and events
  • engaging in research, whether independent, group or practice-based
  • considering theories of spectatorship, developing an awareness of the audience or client group for performance, and an ability to respond and adapt to it through flexible means.

Transferable skills

You gain the following transferable skills:

  • working collaboratively with others utilising a variety of team structures and working methods, understanding group dynamics and handling interpersonal issues
  • developing and pursuing creative projects within specified resource constraints (for example, time, space and/or budget), therefore, developing problem-solving skills
  • managing workloads to meet deadlines and sustaining focus for extended periods working on independent creative projects, developing autonomy and self-management
  • using information retrieval skills to gather and critically evaluate material
  • applying critical and creative skills in diverse forms of discourse and media
  • identifying health and safety issues and undertake risk assessments.  
  • negotiating effectively with a variety of agencies (inside and outside the programme), developing interpersonal skills
  • effectively and professionally communicating coherent arguments and propositions in a variety of media, verbally and in writing
  • undertaking basic design, engineering, construction, and technical work
  • demonstrating numeracy using scale, simple equations, simple geometry, basic arithmetic, data collection, presentation and analysis
  • reflecting on your own learning and progress, identifying strategies for development, exploring strengths and weaknesses and developing autonomy in learning and continuous professional development.

Careers

Graduate destinations

Our graduates have developed careers as:

  • journalists
  • authors
  • literary managers
  • directors
  • performers
  • scriptwriters for television
  • stand-up comedians
  • casting agents
  • event managers
  • arts administrators
  • community theatre officers for local councils
  • drama teachers.

Some have gone on to work for major players in the West End and for theatre companies. These include:

  • Mark Rubinstein
  • Sonia Friedman
  • Bill Kenwright
  • DV8
  • Complicite.

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:

  • Little Bulb Theatre
  • The Pantaloons
  • The Noise Next Door
  • Three Half Pints (stars of Spot Bots).

Our graduates include:

  • Lyn Gardner, theatre critic (The Guardian)
  • Alan Davies
  • Claire Marshall of Forced Entertainment
  • Charlotte Knight, literary agent
  • Russell Bolam, director (Bristol Old Vic, Royal Shakespeare Company)
  • Matthew Gordon, theatre producer (Associate Producer, Cameron Mackintosh Ltd)
  • Kevin Walsh (Operations Director at Graeae theatre company)
  • Louise Arnold, novelist
  • Jimmy McGhie and Tiernan Douieb, comedians
  • Matt Evans, scriptwriter (EastEnders, Law & Order, New Tricks)
  • Adam Brace, playwright
  • Julian Woolford, director (Head of Postgraduate Musical Theatre at Guildford School of Acting).

Help finding a job

The School of Arts works hard to maintain strong links with professionals throughout the industry, as well as with major players such as:

  • Gulbenkian Theatre
  • Marlowe Theatre
  • Shakespeare’s Globe.

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:

  • apply for jobs
  • write a good CV
  • perform well in interviews.

Career-enhancing skills

Alongside specialist skills, you also develop the transferable skills graduate employers look for, including the ability to:

  • think critically 
  • communicate your ideas and opinions 
  • work independently and as part of a team.

You can gain extra skills by signing up for one of our Kent Extra activities, such as learning a language or volunteering.

Independent rankings

For graduate prospects, Drama at Kent was ranked 9th in The Complete University Guide 2017. Drama and Theatre students who graduated from Kent in 2015 were the most successful in the UK at finding work or further study opportunities (DLHE).

According to Which? University (2017), the average starting salary for graduates of this degree is £16,600.

I was never planning to do stand-up until I performed comedy at a student show. Instantly, it felt natura

Alex Smith Drama and Theatre BA

Entry requirements

Home/EU students

The University will consider applications from students offering a wide range of qualifications. Typical requirements are listed below. Students offering alternative qualifications should contact us for further advice. 

It is not possible to offer places to all students who meet this typical offer/minimum requirement.

Qualification Typical offer/minimum requirement
A level

ABB

Access to HE Diploma

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.

BTEC Level 5 HND

Distinction, Distinction, Merit

BTEC Level 3 Extended Diploma (formerly BTEC National Diploma)

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.

International Baccalaureate

34 points overall or 16 points at HL

International students

The University welcomes applications from international students. Our international recruitment team can guide you on entry requirements. See our International Student website for further information about entry requirements for your country.

If you need to increase your level of qualification ready for undergraduate study, we offer a number of International Foundation Programmes.

Meet our staff in your country

For more advice about applying to Kent, you can meet our staff at a range of international events.

English Language Requirements

Please see our English language entry requirements web page.

Please note that if you are required to meet an English language condition, we offer a number of 'pre-sessional' courses in English for Academic Purposes. You attend these courses before starting your degree programme. 

General entry requirements

Please also see our general entry requirements.

Fees

The 2018/19 entry tuition fees have not yet been set. As a guide only, the 2017/18 tuition fees for this programme are:

UK/EU Overseas
Full-time £9250 £16480

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.* 

Your fee status

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.

General additional costs

Find out more about accommodation and living costs, plus general additional costs that you may pay when studying at Kent.

Fees for Year in Industry

For 2017/18 entrants, the standard year in industry fee for home, EU and international students is £1,350. Fees for 2018/19 entry have not yet been set.

Fees for Year Abroad

UK, EU and international students on an approved year abroad for the full 2017/18 academic year pay £1,350 for that year. Fees for 2018/19 entry have not yet been set.

Students studying abroad for less than one academic year will pay full fees according to their fee status. 

Additional costs

The following course-related costs are included in your tuition fees:

  • Props and costumes for practice/performance pieces/student work
  • Tickets [excluding travel costs] for compulsory theatre trips

The following course-related costs are not included in your tuition fees:

  • Optional textbooks (approx. £50 in stage 1; £50 in stage 2; £50 in stage 3)
  • Optional trips/theatre tickets (around £45 per year, based on 2-3 theatre trips per year) and travel costs

Funding

University funding

Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. See our funding page for more details. 

Government funding

You may be eligible for government finance to help pay for the costs of studying. See the Government's student finance website.

Scholarships

General scholarships

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.

The Kent Scholarship for Academic Excellence

At Kent we recognise, encourage and reward excellence. We have created the Kent Scholarship for Academic Excellence. 

For 2018/19 entry, the scholarship will be awarded to any applicant who achieves a minimum of AAA over three A levels, or the equivalent qualifications (including BTEC and IB) as specified on our scholarships pages

The scholarship is also extended to those who achieve AAB at A level (or specified equivalents) where one of the subjects is either Mathematics or a Modern Foreign Language. Please review the eligibility criteria.

Students preparing for their graduation ceremony at Canterbury Cathedral

Your confidence in your ability to present ideas improves and ultimately you become a lot more creative

The Key Information Set (KIS) data is compiled by UNISTATS and draws from a variety of sources which includes the National Student Survey and the Higher Education Statistical Agency. The data for assessment and contact hours is compiled from the most populous modules (to the total of 120 credits for an academic session) for this particular degree programme. 

Depending on module selection, there may be some variation between the KIS data and an individual's experience. For further information on how the KIS data is compiled please see the UNISTATS website.

If you have any queries about a particular programme, please contact information@kent.ac.uk.