This joint honours degree lets you combine your passion for drama and literature, allowing you to tailor your studies according to your interests. You also have the opportunity to spend a term or year abroad.
As one of the most wide-ranging, multi-faceted and interdisciplinary of subjects in the arts and humanities, Drama and Theatre naturally lends itself to joint honours study. On this programme, you encounter aspects of drama, theatre and performance drawn from a wide range of historical epochs, languages and cultures. You explore these in theory and practice, bringing your own specialist areas of study into play in both the seminar and the rehearsal room.
English at Kent is challenging, flexible, and wide-ranging. It covers both traditional areas (such as Shakespeare or Dickens) and newer fields such as American literature, creative writing, postcolonial literature and recent developments in literary theory. Studying Drama alongside English Literature, gives you the freedom to explore your passion for theatre while developing skills associated with the study of literature.
Make Kent your firm choice – The Kent Guarantee
We understand that applying for university can be stressful, especially when you are also studying for exams. Choose Kent as your firm choice on UCAS and we will guarantee you a place, even if you narrowly miss your offer (for example, by 1 A Level grade)*.
*exceptions apply. Please note that we are unable to offer The Kent Guarantee to those who have already been given a reduced or contextual offer.
The University will consider applications from students offering a wide range of qualifications. All applications are assessed on an individual basis but some of our typical requirements are listed below. Students offering qualifications not listed are welcome to contact our Admissions Team for further advice. Please also see our general entry requirements.
BBB including a Humanities-based essay writing subject such as History, English Literature, English Language, Philosophy, Religious Studies or Classical Civilisation.
The University welcomes applications from Access to Higher Education Diploma candidates for consideration. A typical offer may require you to obtain a proportion of Level 3 credits in relevant 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 DMM plus a Humanities-based essay writing subject such as History, English Literature, English Language, Philosophy, Religious Studies or Classical Civilisation at B.
30 points overall or 15 points at HL including HL English A1/A2/B at 5/6/6 OR HL English Literature A/English Language and Literature A (or Literature A/Language and Literature A of another country) at HL 5 or SL 6.
Pass all components of the University of Kent International Foundation Programme with a 60% overall average including 60% in the Literature module.
The University will consider applicants holding T level qualifications in subjects closely aligned to the course.
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.
Please see our English language entry requirements web page.
Please note that if you do not meet our English language requirements, we offer a number of 'pre-sessional' courses in English for Academic Purposes. You attend these courses before starting your degree programme.
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Duration: 3 years full-time, 6 years part-time
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.
Changing Literatures: From Chaucer to the Contemporary Literary Forms aims to introduce students to the major forms of literature: poetry, prose and drama, with a core emphasis on innovation. Students will examine the formal structures and generic features of these major forms and, through studying specific examples, observe how these forms change over time and in response to changes in authorship, literary production, and audience/readership. Students will also be exposed to contemporary literary forms, such as literature written via social media (Twitter, Snapchat and Instagram), literature created by Artificial Intelligence, experimental literature, and asked to critically assess them in relation to traditional forms of literature. Embedded in this module will also be the development of writing and research skills that will equip students to manage successfully the transition from A-level to university study in the field of English and American Literature.
Critical theory and theoretical approaches to the interpretation of literary texts have become increasingly fundamental to English Studies, while also offering a number of rich and complex ways of reading and understanding society and culture more generally. In this course, we will introduce you to some key theoretical readings that may, for instance, include: feminism, psychoanalysis, Marxism, Post-Colonialism and Critical Race Studies, and Queer Theory, among others. Through these readings, we will invite you to make connections between theoretical approaches and to think about how they might inform your reading practices on this and other courses. The aim of this work is to help you to understand the significance and usefulness of theory on its own terms, as well as giving you a coherent grounding in the ways theoretical concepts help us to approach and understand literary and other texts. Through this, you will develop a sophisticated understanding of the dynamic relationship between theory and culture, literature and politics.
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.
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.
This module aims to introduce students to a wide range of Victorian literature. It will equip students with critical ideas that will help them become more skilful and confident readers of texts in and beyond this period. Students will be encouraged to read texts in a number of contexts: environmental (for example, considering the effects of urbanisation and the Industrial Revolution); imaginative (examining a variety of genres: for example fable, dream-vision, novel); political (class conflicts, changing gender roles, ideas of nation and empire); and psychological (representations of growing up, courtship, sibling and parent-child relationships, dreams and madness). Students will be made aware of such critical concepts as realism and allegory and will be encouraged to think about various developments of literary form in the period. Students will also be asked to reflect critically on the legacies and afterlives of the Victorian period and its literature in contemporary Britain.
This module will introduce students to a wide range of contemporary literature written in English, where 'contemporary' is taken to refer to twenty-first century work. It will equip students with critical ideas and theoretical concepts that will help them to understand the literature of their own time. Students will consider examples of a range of genres: poetry, fiction, creative non-fiction and the essay. They will also be selectively introduced to key ideas in contemporary theory and philosophy. Over the course of the module, students will be encouraged to read texts in a number of contexts. They will consider writers’ responses to, for instance, questions of migration, environmental change, austerity, and crisis. They will also consider a range of aesthetic developments and departures, for example: the turn to creative non-fiction; the re-emergence of the political essay. The module will not focus on a given national context. Instead it will set contemporary writing against the background of identifiably international issues and concerns. In so doing it will draw attention to non-national publishing strategies and audiences. Overall, the module will aim to show how writers are responding to the present period, how their work illuminates and reflects current cultural concerns. Throughout, we will explore both thematic and formal concerns.
Before 1660 there was no English novel, and by the end of the eighteenth century there was Jane Austen. This module asks how such a literary revolution was possible. It investigates the rise of professional authorship in an increasingly open marketplace for books. With commercial expansion came experiment and novelty. Genres unheard of in the Renaissance emerged for the first time: they include the periodical essay, autobiography, the oriental tale, amatory fiction, slave narratives and, most remarkably, the modern novel. Ancient modes such as satire, pastoral and romance underwent surprising transformations. Many eighteenth-century men and women felt that they lived in an age of reason and emancipation – although others warned of enlightenment's darker aspect. Seminar reading reflects the fact that an increasing number of women, members of the labouring classes, and African slaves wrote for publication; that readers themselves became more socially varied; and that Britain was growing to understand itself as an imperial nation within a shifting global context. It asks students to reflect, as eighteenth-century writers did, upon the literary, cultural and political implications of these developments. There will be weekly lectures and seminars.
This module looks at some of the most innovative early twentieth century writers. As well as famous authors, such as the novelists Virginia Woolf and James Joyce, and the poet T. S. Eliot, the module examines a wide range of figures, such as Gertrude Stein, who pioneered the 'stream-of-consciousness' technique; the writer and artist Wyndham Lewis, who imitated the bombastic stance of the Italian Futurists; and the African American poet Langston Hughes, who saw the modernist moment as an opportunity to create a new ‘Negro art’. This period is characterised as much by its lively and often strident artistic manifestos as it is by its sometimes monumental literary works, and we take a close look at this climate of literary debate. We will analyse these writers against the background of changing social and sexual attitudes, examine the connections with literary and artistic developments in France and Italy, and unearth some of the less well-known writers of the period who are increasingly viewed as central to modernist literary history.
The drama of early modern England broke new literary and dramatic ground. This module will focus on key plays across the period. It will explore the development of dramatic writing, the status of playing companies within the London theatres, drama's links to court entertainment and its relationship to the provinces. Dramatic and literary form will be a central preoccupation alongside issues of characterisation, culture, politics, and gender. Shakespeare’s work will be put into context in relation to the plays of his contemporary dramatists as well as the various cultural, historical and material circumstances that influenced the composition, performance and publication of drama in early modern England.
This course will introduce students to the field of postcolonial literature, focusing on the period from the late nineteenth century to the present day. The module will be divided into three consecutive areas: empire and colonisation (three weeks); liberation movements and the processes of decolonisation (either three or four weeks); and migration and diaspora (either three or four weeks). Centred primarily on canonical British colonial texts, the first part of the course may also involve comparison with other less familiar texts and contexts, such as those of Zionist nationalism and settler colonialism, or more popular twentieth-century imperial fantasy and adventure genres. The texts in the second part of the module will be drawn primarily from Africa, the Carribean, the Middle East, and South Asia. The intention is to allow students to bring these disparate regions and texts into a productive dialogue with each other by reflecting on their shared history of decolonisation and their common engagement with colonial and liberation discourses. The course further aims to sketch a narrative of empire and decolonisation that is in part relevant to contemporary postcolonial Britain, to which the final section on migration and diaspora then returns. Some brief extracts from theoretical material on colonial discourse analysis, decolonisation, postcoloniality and migration will be considered alongside a single primary text each week. Students will be introduced to key ideas from the work of (among others) Edward Said, Frantz Fanon, Homi Bhabha, Stuart Hall and Gayatri Spivak. Together with a broad primary textual arc stretching from the British empire to postcolonial Britain, the course will thus give students a cohesive intellectual narrative with which to explore changing conceptions of culture, history, and postcolonial identity across the modern world.
This module will introduce students to a range of writing from the late-medieval period. It focuses on a number of central genres in English literature that emerged between the late-fourteenth and early-sixteenth-centuries (romance, tragedy and fabliaux, miracle plays and devotional prose), and will explore some key topics and themes in medieval literature. In previous years, we have explored, for example: authority and the idea of the 'author', politics and social change, gender, sexuality, piety, personal identity, chivalry, free will, legend, historicism, reading technologies and practices, iconography, and medievalism. The themes and theories covered by the course will vary from year to year in response to the lecture programme, and to the emphases made by individual teachers.
Geoffrey Chaucer's Canterbury Tales will offer an accessible introduction to many of these core genres and themes, and initiate students in issues that are pertinent to less familiar writers and texts from the period, such as Sir Gawain and the Green Knight, Malory's Le Morte Darthur, and The Book of Margery Kempe. During the course of the module you will also learn about the historical and cultural contexts of the fourteenth and fifteenth centuries, how such contexts influenced the literature of the period, and how modern medievalisms (the versions of ‘the medieval’ presented in, for instance, film, TV , art and historical novels) have shaped twenty-first-century ideas about medieval life and literature.
This module is a study of twentieth-century American literature and culture organized conceptually around the idea of modernity. Students will explore the interconnections between modernity in the United States and the literary and philosophical ideas that shaped it (and were shaped by it) from the start of the century to its close. At the core of the module will be a necessary focus on two versions of American modernity, broadly represented by New York and Los Angeles respectively. Novels, works of art and critical texts will be read alongside one another to explore how these major regional hubs of aesthetic and cultural output developed competing conceptions of "modernity", “American culture” and the place of “the urban” in twentieth-century life, with important effects on contemporary perceptions of the USA. Moving beyond a sense of “modernism” as simply an aesthetic challenge to nineteenth-century modes of romanticism and realism, to consider the embeddedness of “modernist” literature within the particularities of its cultural and historical moment, students will be asked to develop a more nuanced approach to critical reading that pays close attention to the role of differing conceptions of modernity in the USA. The rise of mass culture, the L.A. film industry, the importance of Harlem to the history of race, the role of the intellectual, the urban challenges of the automobile, the birth of the modern American magazine, and questions of conservation and “creative destruction” in cities will all be considered through readings of key novels and critical texts from what Time Magazine editor Henry Luce famously called “The American Century”.
In taking this module, you will have the opportunity to become a future creator, shaping and changing the landscape of how we tell stories. Whether through multi-platform storytelling, alternate reality games, immersive theatre, locked room experiences, interactive art and gallery exhibitions, virtual and enhanced (augmented, integrated, mixed) realities, cross-media marketing campaigns, or hybrid projects, the possibilities for interactive and immersive narratives are constantly growing and developing, as audiences, readers and users begin to expect more from the ways in which stories are told.
This module explores how interactive and immersive fictions enable and empower us to rethink and reshape how stories are told within a range of different contexts. In an interdisciplinary and collaborative environment, students will develop creative skills such as how to build immersive imaginary worlds; how to craft story archaeologies; and how to incorporate user interactivity into different forms of fiction, in order to create experiences that have emotional and psychological value. We will examine questions such as: what makes a meaningful interactive or immersive story? How do interactive and immersive forms change the way we think about terms like narrative and reader? What influences a person's experience of an immersive or interactive story? And what do current, past and future technologies make possible for the telling of stories?
To take the module, students need only have an interest in the craft of storytelling and a vivid imagination; previous experience of gaming or programming may be useful but is not essential. With an emphasis on practical creative work and collaborative learning, this module will interest students from a range of backgrounds, including creative writing, game design, arts, marketing and theatre.
As discussions about mental health and the challenging of stigmas surrounding mental illness, make their way into the mainstream more and more, there has never been a better time to explore the ways in which literary and cultural texts frame and represent mental wellbeing. In this module, students will have the opportunity to examine, respond to, and reflect upon, a range of representations of mental health and mental illness, and the broader social and historical ideas which they reveal.
Drawing on critical texts from the fields of Mad Studies, alongside prose memoir texts, lyric essays, poetry collections, and film and image, the module will explore, critically examine, and creatively respond to some of the various thematic lenses through which mental health and mental illness have been represented. These themes include, for instance, mental health in relation to idleness and work; shame and secrecy; spectacle and morality; sin and punishment; animality and dehumanization; order and disorder; contagion and pathology; leisure and decadence; surveillance and authority; transgression, borderlands and margins; social uniformity and 'family values'; feminisation and silence; and rebellion and protest.
The module will furnish students with the necessary tools required to discuss issues of mental health and mental illness critically and with understanding; as well as providing the opportunity to explore and reflect on these issues creatively in a range of forms. Students are invited to take either a critical or a creative approach to their final projects - or a hybrid of the two – and both approaches will be fully supported throughout the module.
You have the opportunity to select elective modules in this stage.
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 Division of Arts and 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 does 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 of 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?' and 'what ethical, political and philosophical questions does performance raise?''. After writing an essay focussing on one of these questions, the class will then turn its attention to a range of performance texts and the various conceptual and philosophical questions that arise from them. Alongside theoretical discussion of these concepts, the students will also direct excerpts of the plays in question, allowing them to bring the theory and practice into fruitful dialogue in an assessed performance.
This module gives an opportunity for intensive study of one of the major novelists of Victorian England. There are many different views and interpretations of Dickens circulating in our culture. He has been dismissed as a writer of cosy sentimentality, celebrated as a radical critic of his age, and admired for his prodigious output and creative innovation.
Studying a selection of his fiction, we will consider a wide variety of interpretations, in the light of the most current literary criticism of Dickens's works. We will analyse Dickens’s texts in terms of narrative method, genre, characterisation, imagery and book history and – in the process – we will examine how the novels respond to, or challenge, significant aspects of Victorian culture and society such as class, gender, family, nation, childhood, the city, empire, industrialisation, and modernity.
This module raises students' awareness of contemporary issues in postcolonial writing, and the debates around them. This includes a selection of important postcolonial texts (which often happen to be major contemporary writing in English) and studies their narrative practice and their reading of contemporary culture. It focuses on issues such as the construction of historical narratives of nation, on identity and gender in the aftermath of globalisation and 'diaspora’, and on the problems associated with creating a discourse about these texts.
This module presents students with an opportunity to formulate and deliver a research project of their own making, whether it be a dissertation, a portfolio of texts, a publication, a podcast, a documentary, a short film, a performance, an app, or another form of public interaction derived from literary research. Supported by appropriate instruction, this module develops independent research skills and creative practices, provides a chance to engage with material of personal and/or professional interest, and offers the possibility of laying claim to a specific area of study. This is a student's opportunity to devote a sustained period of time to an area for which they feel enthusiasm, curiosity, and passion.
Gay, lesbian, bisexual, transgender, and queer narratives often hold a revelatory place in the personal identity formation of many British and Irish people in the late twentieth and early twenty-first centuries. Indeed, queer literature offers a powerful site for identity critique and formation. In the nascent genre of the 'coming out' story, in narratives of both personal and systemic oppressions, as well as in tales of outward resistance, queer writers in Britain and Ireland have used (and continue to use) literary modes to speak back to the very cultural homophobia and transphobia, which marginalises them and their communities. This module invites students to explore the unique place that literature and art maintains in the formation of LGBTQ political identities, cultures, pasts, and futures; students will also be prompted to consider how queerness—specifically in Britain and Ireland—intersects with categories such as class, race, nationality and others. The module will consider a broad range of British and Irish LGBTQ writing from the late twentieth century to the present: sampling significant texts in poetry, drama, prose, and television drama.
This module explores the ways in which Shakespeare's plays and Shakespeare as a cultural icon function within historic and contemporary racial politics. It examines intercultural appropriations of Shakespeare on stage and film, and their racial and cultural meanings. In doing so, students are encouraged to address the role that Shakespeare and his plays have in historic racial politics, global, colonial and postcolonial histories, as well as contemporary discussions (often seen in Twitter hashtags such as #ShakeRace, #RaceB4Race and #BLM). It will focus on five texts and productions, such as Titus Andronicus, Richard II, The Merchant of Venice, Othello and The Tempest.
The Unknown asks you to think creatively and analytically about creative non-fiction and autofiction. This module asks how these forms explore and value alternative modes to epistemology, including embracing those things which are difficult to put into language or 'unknown'. You will explore the techniques writers use when writing about their own lives, analyse the success of these techniques, and discuss the ethics of various forms of ‘life writing’. You will then attempt your own writing in one of these genres or a critical commentary on a topic from the module. Many of the texts we read will be contemporary, but there will also be important literary and critical works from the last 200 years, including on topics such as psychoanalysis, desire, ecocriticism, and the non-human. The Unknown asks you to think deeply about how, and why, you read and write and invites you to explore these questions creatively and critically.
This module explores the eighteenth century fascination with bodies and the truths (or lies) bodies were supposed to reveal. Our focus will be on the ways in which the body is read and constructed in eighteenth-century literature and how these readings and constructions reflect various concerns about class, race, gender and sexuality. Efforts to regulate the body (particularly the female, plebeian and racialised body) became the focus of many reformers and philanthropists in the period who sought to recuperate the productive (and reproductive) labour of idle or transgressive bodies to serve the nation's moral and financial economies. Other writers, however, emphasised the body's potential to work against social and cultural norms, focusing on events such as the masquerade, in which women dressed as men and aristocrats as chimney sweeps.
Through the course of this module we will examine a range of literary representations of the body which seek both the control the body and to celebrate its disruptive potential. We will read texts from a variety of genres including medical literature, misogynist satire, sentimental novels, popular fiction, travel writing and pornography. Primary texts will be read alongside recent critical work by Thomas Lacquer, Michel Foucault, Roy Porter, and Peter Stallybrass and Allon White, which illuminate the ideological stakes writers played for when writing about the body. Topics for discussion will include disability and deformity, race, the sentimental body, dress and the body, the body as text and the relationship between the body and the body politic. The primary focus of this option will be literature, but we will also examine visual representations of the body in caricature and satire as well as in the portraiture.
'I am a refugee, an asylum-seeker. These are not simple words, even if habit of hearing them makes them seem so. I arrived at Gatwick Airport in the late afternoon of 23 November last year. It is a familiar minor climax in our stories, leaving what we know and arriving in strange places, carrying little bits of jumbled luggage and suppressing secret and garbled ambitions. For some, as for me, it was the first journey by air, and the first arrival in a place so monumental as an airport, though I have travelled by sea and by land, and in my imagination.' (Abdulrazak Gurnah, By the Sea)
Abdulrazak Gurnah, the Nobel Prize Winner for Literature 2021, is a compass point for this module, which navigates through experiences and processes of travelling across seas, places and borders that have been a central concern in Gurnah's work since 1987. Anchoring discussion on Gurnah's writing about the effects of colonialism and the immigrant experience between coastlines of southern England and East Africa, the module will then broaden out geographically and historically to explore texts from the coasts of the East Mediterranean, the Caribbean, West Africa, Europe, and beyond. The texts explored are about the journeys of displaced people – asylum seekers, detainees, political exiles, stateless, diaspora – as shaped by key modern historical and political processes. From immigrant arrival and dislocation to national movements and political realities, the module explores connections between places, journeys, borders, and literary and artistic production, and considers sites and processes of heritage, hostility and hospitality, responsibility and neglect, negotiation and contradiction, convergence and discord, clash and reconciliation. It explores concepts such as: belonging and longing; memory; homeland; trauma and mental health; internal and external displacement (physical, mental, physical); sites without rights – refugee camps, jungles, detention/reception centres, prisons, the buffer zone, middle sea/Mediterranean, border-towns, asylums, hospitals. The module provides access to various organisations (e.g. charities, grassroot groups, and activist networks) engaged with migration projects.
This module explores the history and practice of crime fiction in the United States from Edgar Allan Poe in the 1840s through to the present day. Crime fiction will be understood
broadly to encompass a range of generic categories such as detective, hardboiled and police procedural novels and stories. Attention will also be paid to developments in cinema
and television which parallel those in fiction, such as film noir and the contemporary cop series. Strong emphasis will be placed on historically informed reading and students will be
encouraged to relate the close analysis of texts to shifts in narrative form as well as the establishment and transgression of generic conventions.
The study of American crime fiction reaches directly into the heart of many of the key concerns of undergraduate English. Questions about the distinctions between high and low
culture, the seductiveness of particular narrative forms, and dialectic relations between literary and social history will all be addressed. Students will have the opportunity to read
crime fiction alongside elements of Marxist, narrative and genre theory. Eventually they will be able to consider how crime fiction has evolved in its engagement with questions of
race, gender and sexuality in the United States, from the construction of white masculinity in the hardboiled genre to the policing of black communities in the neoliberal city.
If the Bildungsroman has been criticised for being outmoded and conservative, how do contemporary writers interrogate and expand its scope and importance? Are coming-of-age narratives merely private stories or can they be read in ways which highlight their social functions, and what kind of theoretical, aesthetic and cultural perspectives can we apply to scrutinise these functions? This module will bring together a range of texts and films from the twentieth and twenty-first centuries that can be read within and against the literary tradition of the Bildungsroman or the coming-of-age narrative. Drawing on material from the US, the Caribbean, Asia and Europe, we will spend time analysing the representation of the coming-of-age experience in terms of content and form and assess the ideological functions of the Bildungsroman in a cross-cultural context. Particular attention will be given to questions of racial and ethnic identity, migration, colonialism, memory, trauma, belonging and sexuality. We will also explore the connection of the Bildungsroman with genres such as autobiography, family memoir, young adult fiction, graphic novel, and film. Writers studied in this module include Richard Wright, Jamaica Kincaid, Sandra Cisneros, Sherman Alexie, Jhumpa Lahiri, Marjane Satrapi, and we will watch films including My Beautiful Laundrette and Bend it Like Beckham.
This module examines the development of Virginia Woolf's writing across the span of her life. It explores Woolf’s most important modernist texts alongside some of her lesser-known writings, and considers a range of literary genres she wrote in (novels, essays, short stories, auto/biography). As well as paying close attention to the distinct style of modernist literature, there will be consideration of various historical, cultural, philosophical, political and artistic contexts that influenced, and were influenced by, Woolf’s writing. Students will be introduced to the key critical debates on Woolf, featuring discussion of topics as diverse as feminism, visual art, the everyday, war, sexuality, gender, class, empire, science, nature and animality. With Woolf as its central focus, this module therefore seeks to understand the lasting significance of modernist literature.
What is the relationship between 'animal' and ‘human’, and how is this explored through writing? This module seeks to examine creaturely relations by focusing on literature from the eighteenth century up to the present, alongside key theoretical and contextual material that engages with questions concerning animality and humanity. We will focus on how writers imagine distinct animal worlds as well as how they understand the role of animals in human cultures. A range of novels, short stories and poems will raise questions about how we look at, think with, and try to give voice to animals, and topics covered will include ‘Becoming Animal’, ‘Animal Autobiography’, ‘Observing Animals’, ‘Colonial Creatures’, ‘Animal Experiments’, ‘Taming and Training’, and ‘Questions for Animals’. Students taking this module will gain a firm grounding in the diverse critical field known as ‘animal studies’, whilst also considering the broader cultural, philosophical and ethical implications of how we think about the relationship between humans and animals.
The New Woman, a controversial figure who became prominent in British literature in the late nineteenth century, challenged traditional views of femininity and represented a more radical understanding of women's nature and role in society. She was associated with a range of unconventional behaviour – from smoking and bicycle-riding to sexuality outside marriage and political activism. This module will examine some of the key literary texts identified with the New Woman phenomenon including women’s journalism in the period. The module’s reading will be organised around central thematic concerns such as: sexuality and motherhood; suffrage and politics; career and creativity. We will consider to what extent the New Woman was a media construction or whether the term reflected the lives of progressive women in the period. This module will also examine how the New Woman became a global phenomenon, beginning with the plays of Henrik Ibsen, before spreading to literature, journalism, and political essays produced around the world by writers from Britain (Mathilde Blind, Mona Caird, Margaret Harkness, George Gissing, Amy Levy, Evelyn Sharp, and Augusta Webster), America (Charlotte Perkins Gilman), Australia (George Egerton), India (Sarojini Naidu), New Zealand (Katherine Mansfield), and South Africa (Olive Schreiner). The module will also consider the legacy of the New Woman in a neo-Victorian novel, Sarah Waters’s Tipping the Velvet (1998).
This module provides students with an opportunity to explore literature written by, for and about medieval women. It will consider women as writers, readers and the subjects of literature; as the consumers, compilers and scribes of books; and as the protagonists and antagonists in a variety of literary and artistic forms produced in England and Europe during late-medieval period. In the course of the module, we will explore how literature reflected, and helped to construct and constrain, women's lives, bodies, sexualities, identities and experiences, and the avenues through which they expressed their thoughts, desires and fears. By examining a range of material, including lyrics and romances, devotional manuals, saints lives, plays, letters, conduct books, sculptures, iconography and the everyday objects owned by women, we will encounter, for example: women as they were and how they were supposed to be; female friendship and same-sex desire; women’s diverse roles in society and in the home; how their bodies and relationships were used in polemic and political discourse; their influence on prominent male writers of the period; and the construction and erasure of late-medieval women’s voices in the historiography of later ages. The specific topics, materials and the date range covered by the module may alter from year to year to reflect teaching staff’s specialisms and interests.
In his 1980 essay, 'The Mathematics of Rimbaud', the poet, performer, and painter Allen Fisher observed that – as a consequence of the innovations in artistic practice throughout the 20th century – the idea of "art as objects and poetry as poems" had gradually lost its credibility. In stating this, Fisher not only articulated a compelling summary of the ways in which the study and practice of poetry and art over the last fifty years have consistently challenged the idea that these works are somehow enclosed, autonomous, or didactic units of meaning. He also indicated that sometimes poetry goes beyond text. Whether we think of the developments in the fields of concrete and visual poetry; poetry's interaction with larger art installations; sound poetry; poetry in performance; or any combination of these different practices, contemporary poetry often invites us to think of 'poems’ as something more than just words printed on a page.
In this module, you will have the opportunity to explore and engage with a diverse range of poetry beyond text, both on a creative and critical level. The curriculum will cover topics and themes including performance poetry (as well as poetry and performance more broadly), verbal artefacts, and intersections between poetry and sonic, visual and digital arts. Through both theory and practice, including regular creative exercises, the module offers you the opportunity to engage with these interdisciplinary poetry practices from both creative and critical perspectives. The assessment methods will also allow you the opportunity to pursue independent research projects that can be either creative or critical, or a combination of the two. Throughout, our studies will help to further enhance your understanding of poetry as a kinetic and mutable form of art.
You have the opportunity to select elective modules in this stage.
The 2023/24 annual tuition fees for this course 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.
There may be some additional costs related to the subjects studied in this programme. Please see the Additional costs section for each subject below. Please note that these may vary depending on your specific module selection:
Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. See our funding page for more details.
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. Drama and Theatre modules are continuously assessed based on coursework, projects and presentations, performances, essays and dissertations.
Modules are taught by weekly seminars. Compulsory modules include a weekly lecture, plus individual supervision is offered for the Long Essay. Assessment at Stage 1 is by a mixture of coursework and examination. Some modules may include an optional practical element.
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.
Drama and Cinematics at Kent scored 89% overall and was ranked 7th for research quality in The Complete University Guide 2023.
Of final-year Drama students who completed the National Student Survey 2021, 88% were satisfied with the quality of academic support on their course.
Of final-year English students who completed the National Student Survey 2021, 85% were satisfied with the teaching on their course.
The Department has developed partnerships with some of the major players in theatre in the UK including: Battersea Arts Centre, the RSC and The Gate. Selected programmes offer you the opportunity to go on work placements which can lead to future full-time employment. The range of modules we offer ensures you develop key skills such as planning and organisation, teamworking, adaptability and leadership.
Past graduates have become theatre producers, actors, literary managers, journalists, authors, directors, performers, scriptwriters for television, stand-up comedians, casting agents, event managers, arts administrators, community theatre officers for local councils, drama teachers. Many of our graduates choose to go on to postgraduate study.
We also support past students to set up companies and remain in Kent with the Graduate Theatre Scheme.
Throughout your studies, you learn to think critically and to work independently; your communication skills improve and you learn to express your opinions passionately and persuasively, both in writing and orally. These key transferable skills are essential for graduates as they move into the employment market.
Our graduates have gone into: journalism, broadcasting and media, publishing, writing and teaching; more general areas such as banking, marketing analysis and project management; or on to further study for postgraduate qualifications.
UCAS application cycle for 2023 is open. You can search courses and apply via the UCAS website.
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