BA (Hons) Drama & Theatre Arts
2297
BA (Hons) Drama & Theatre Arts
BA (Hons) Drama & Theatre Arts
No
KW440
128000010184797
Theatre and Performance
- select a department -
- select a department -
Dr Fiona Graham
f.graham@gold.ac.uk
ABBBC (Higher), ABC (Advanced Higher)
77%
A1 A1 A2 B1
No

The Department of Theatre and Performance at Goldsmiths does not offer applicants auditions, although some – but not all – candidates will be invited for interview. The degree doesn't aim to provide a vocational training in acting, but rather the opportunity to engage in a broad creative and critical study, exploring the possibilities of theatre making in a wide historical and cultural context to provide transferable skills for a richly diverse array of career choices. This is why we're not looking for performing skills alone but for a range of intellectual, creative, critical and inquisitive qualities when we select candidates for a place.

BA (Hons) Drama & Theatre Arts

This degree reflects the diversity and excitement of the subject in the new millennium, and gives you the opportunity to study the theory and practice of theatre and performance in a range of media.

UCAS
W440
Course length
3 years full-time
Entry requirements
A-level:
ABB

BTEC:
DDM

IB:
33 points including three HL subjects

Access:
Pass with 45 Level 3 credits including distinctions/merits in subject specific modules

or equivalent; see find out more about our general entrance requirements.
Additional requirements

Applicants with A-levels in Arts and Humanities subjects such as English, History, Languages, Philosophy, Sociology are welcomed. While Drama and Theatre Studies would be an advantage, this is not necessarily essential as we are also interested in those with other subjects or complementary experience.

You must be able to express a well-informed interest in theatre and performance theory and practice. Please note that we do not normally accept applications for deferred entry.

If your first language is not English, please check our English Language requirements.

Selection process

The Department of Theatre and Performance at Goldsmiths does not offer applicants auditions, although some – but not all – candidates will be invited for interview. The degree doesn't aim to provide a vocational training in acting, but rather the opportunity to engage in a broad creative and critical study, exploring the possibilities of theatre making in a wide historical and cultural context to provide transferable skills for a richly diverse array of career choices. This is why we're not looking for performing skills alone but for a range of intellectual, creative, critical and inquisitive qualities when we select candidates for a place.

Fees and funding
Please see undergraduate tuition fees.
Contact the department
Contact the Admissions Tutor, Dr Fiona Graham.
Visit us
Find out about how you can visit Goldsmiths at one of our open days or come on a campus tour.

Why study BA Drama & Theatre Arts at Goldsmiths?

  • You'll study in a dynamic department that offers you a balanced mix of theoretical and practical work so that both constantly inform each other
  • We're located within easy travelling distance of central London, so you'll be close to one of the largest concentrations of performance practices in Europe
  • Many of our staff are professional theatre-makers and committed researchers, and we have strong links with theatres, companies and professional organisations
  • You'll benefit from our excellent on-campus facilities, including a 160-seat theatre, four performance studios, scenic workshops an open-access media suite and sound studio
  • In the most recent National Student Survey, 97% of students said that the course is intellectually stimulating, and 97% said that they are graduating with greater confidence in their communication skills
  • From the second year you'll be supported by an extra-curricular Personal and Professional Development programme that accelerates in the third year
  • The degree provides training for working in the performing arts and creative industries; also the independent thinking and initiative, collaborative skills, and ability to conceive and develop ideas in an articulate and organised manner that will qualify you for a wide range of careers
  • Our graduates have won prestigious awards as playwrights, directors, creators of new work, and cultural leaders in the UK and internationally

What you study

Our distinctive emphasis on performance and production work alongside and informed by theoretical and critical study (and vice versa) , the stimulating atmosphere created by staff with diverse research expertise, and our location in the heart of London's performance culture, mean that we offer an unique approach to drama and theatre arts.

The degree programme leads you through a range of study including: theatre making: production processes and performance; close analysis of performances and written texts; the history of theatres across a range of cultures; critical vocabularies for reading, writing and analysing texts as well as performances; physical investigation of - and reflection on - modes of performance; the acquisition of technical skills; understanding how performance affects audiences; theatre, studio and site-specific practice; understanding of theatre in terms of its social engagement; an ability to define and critique what falls under the broad term ‘performance’.

After your First Year in which you study practical skills via Questions of Dramaturgy and Scenography, Analytical Vocabularies and the relationship between Space, Body and Spectator, you apply your learning in Theatre Making projects. From the Second Year you are offered Options: in Theatre Histories and Modernist and Postmodernist topics, in Questions of Performance (e.g. character, text, voice and performance) and in the role you will take in company Theatre Making projects (e.g.  directing, writing, performing, scenography). In your Third Year you develop a specialist focus: you choose from Options in Culture and Performance such as e.g. Art and Japan, Black British and American Drama; you develop your study of Dramaturgy; you develop Final Show Theatre Making projects in either Text, Devised, Live Art, or Applied theatres, again, taking a specialist role in company collaborations; you conceive, research and write a Dissertation, supervised by a specialist Tutor. You also follow a vibrant Personal and Professional Development Programme that is run in collaboration with the Institute for Cultural and Creative Entrepreneurship (ICCE) and involves professional alumni and a range of career-focused workshop activities.

Throughout your learning you benefit from the College Library, department theatre and studio spaces,  open access to the department's digital (media and sound) and scenographic workshops, supported by the department's team of professional technicians. 

The department is also part of the Erasmus Scheme and has a wide international professional network, including a new Association with LIFT.

The department's Special Project Fund supports students' own productions and workshop projects.

About studying undergraduate Drama and Theatre Arts at Goldsmiths

 
 
 
 
 
 

Video: Click to play

 
 
 
 
  

The Department scored 97% for Teaching in the 2013 National Student Survey (NSS) whilst 97% of respondents agreed that their Communication Skills had improved.


Equivalent qualifications

Scottish qualifications: ABBBC (Higher), ABC (Advanced Higher)
European Baccalaureate: 77%
Irish Leaving Certificate: A1 A1 A2 B1

BA (Hons) Drama & Theatre Arts Courses

Modules and structure

The degree is based on a balanced combination of modules in the theory, practice and history of drama, theatre, performance and related media. You take four modules of study a year, but any one module may include within it two or more options.

[Please note that modules are currently under review, and may be subject to adaptation for 2015-16 entry]

Assessment

Performances, production processes, essays, group projects, dissertation and timed examinations.


Level 4 Modules

Analytic Vocabularies
Analytic Vocabularies

This module introduces and explores critical approaches to theatre and performance through textual analysis of a range of plays. You will be provided with the critical tools to consider the contextual influences of history and culture in performance as well as genre and form. 

Code Module title Credits
DR51003A
Analytic Vocabularies
30 credits

This module introduces and explores critical approaches to theatre and performance through textual analysis of a range of plays. You will be provided with the critical tools to consider the contextual influences of history and culture in performance as well as genre and form. 

Space-Body-Spectator
Space-Body-Spectator

This module introduces you to a 'no frills' collaborative approach as a foundation for all your Theatre Making. Taught as practice classes and seminars, we explore the performer's relationship to space and time, physical presence/ expressivity, and the performer-spectator dynamic. We look at critical spectatorships as well as the history of artistic movements where the conventions of space in relation to performance and spectatorship have been disrupted or transformed. 

DR51007B
Space-Body-Spectator
30 credits

This module introduces you to a 'no frills' collaborative approach as a foundation for all your Theatre Making. Taught as practice classes and seminars, we explore the performer's relationship to space and time, physical presence/ expressivity, and the performer-spectator dynamic. We look at critical spectatorships as well as the history of artistic movements where the conventions of space in relation to performance and spectatorship have been disrupted or transformed. 

Questions of Dramaturgy/ Scenography
Questions of Dramaturgy/ Scenography

Questions of Dramaturgy/Scenography is a practice based module which aims to introduce the principles of dramaturgy as well as training and experimentation in scenography (the visual components of theatre eg. set design, costume, light, sound, performer), with emphasis on the way space could be used or interpreted as a complex system of dramaturgical signs. The module introduces processes of directing, text analysis for performance, devising and performing.

DR51013A
Questions of Dramaturgy/ Scenography
30 credits

Questions of Dramaturgy/Scenography is a practice based module which aims to introduce the principles of dramaturgy as well as training and experimentation in scenography (the visual components of theatre eg. set design, costume, light, sound, performer), with emphasis on the way space could be used or interpreted as a complex system of dramaturgical signs. The module introduces processes of directing, text analysis for performance, devising and performing.

Theatre Making 1
Theatre Making 1

Theatre Making 1 is intended as a culmination of your first year's work and will draw on your experiences in the other Level 1 units. Whilst it is assessed, these end of year projects take on elements of a festival- a presentation of exciting and innovative work where theatre making is explored in a creative and inventive fashion, within defined philosophic parameters and a constructively critical framework. 

DR51012B
Theatre Making 1
30 credits

Theatre Making 1 is intended as a culmination of your first year's work and will draw on your experiences in the other Level 1 units. Whilst it is assessed, these end of year projects take on elements of a festival- a presentation of exciting and innovative work where theatre making is explored in a creative and inventive fashion, within defined philosophic parameters and a constructively critical framework. 


Level 5 Modules

Modernisms and Postmodernity A
Modernisms and Postmodernity A

This lecture/ seminar series introduces you to key aspects of modern and postmodern thought, culture and theatre. It aims a) to examine historical and cultural contexts, and b) to explore and analyse the theoretical and culture concerns and practices which have been understood as modernist and postmodern. It is interdisciplinary, considering not only practices in theatre but in other areas of cultural production. 

Code Module title Credits
DR52019A
Modernisms and Postmodernity A
15 credits

This lecture/ seminar series introduces you to key aspects of modern and postmodern thought, culture and theatre. It aims a) to examine historical and cultural contexts, and b) to explore and analyse the theoretical and culture concerns and practices which have been understood as modernist and postmodern. It is interdisciplinary, considering not only practices in theatre but in other areas of cultural production. 

Modernisms and Postmodernity B
Modernisms and Postmodernity B: Options

Students choose from a range of options available within the Department.  The modules on offer may differ from year to year as they reflect staff research interests, but some examples of modules recently on offer include:

DR52020A
Modernisms and Postmodernity B: Options
15 credits

Students choose from a range of options available within the Department.  The modules on offer may differ from year to year as they reflect staff research interests, but some examples of modules recently on offer include:

MOPO B: Postcolonial Theatre
MOPO B: Postcolonial Theatre

This module introduces students to the debates and issues about the scope and frame of the postcolonial field and its critical theory. It will specifically look at the relationship between postcolonialism and postmodernism; the shifts and tensions in the centre-periphery relations, issues of cultural imperialism and oppression and strategies surrounding the politics of culture, identity and representation. 

DR52020A
MOPO B: Postcolonial Theatre
15 Credits

This module introduces students to the debates and issues about the scope and frame of the postcolonial field and its critical theory. It will specifically look at the relationship between postcolonialism and postmodernism; the shifts and tensions in the centre-periphery relations, issues of cultural imperialism and oppression and strategies surrounding the politics of culture, identity and representation. 

MOPOB: Theatre and the Artistic Avant-Garde
MOPO B: Theatre and the Artistic Avant-Garde

This module explores the relationship between visual art and theatre in both the pre-war, historical avant-gardes- such as Futurism, Dada and Surrealism- and some of the post-war, neo avant-gardes. Apart from obvious points of contact such as stage design, we will try to understand the relation between theatrical writing and performance, through art and visual imagery. 

DR52020A
MOPO B: Theatre and the Artistic Avant-Garde
15 Credits

This module explores the relationship between visual art and theatre in both the pre-war, historical avant-gardes- such as Futurism, Dada and Surrealism- and some of the post-war, neo avant-gardes. Apart from obvious points of contact such as stage design, we will try to understand the relation between theatrical writing and performance, through art and visual imagery. 

MOPO B: Women, Feminism & Playwrighting
Women, Feminism & Playwrighting

This module investigates the relationship between modern women playwrights (writing in English) and the ways in which their work intersects with the tenets of feminist thought. Each week two polemical pieces: one on social history or feminist theory, the other on drama or theatre will be analysed in tandem with the play under discussion. 

DR52020A
Women, Feminism & Playwrighting
15 Credits

This module investigates the relationship between modern women playwrights (writing in English) and the ways in which their work intersects with the tenets of feminist thought. Each week two polemical pieces: one on social history or feminist theory, the other on drama or theatre will be analysed in tandem with the play under discussion. 

MOPO B: Samuel Beckett: Performance, Writing and Philosophy
Samuel Beckett: Performance, Writing and Philosophy

This option focuses precisely on this dual nature of Beckett's work and offers students a chance to study and questions modern/ postmodern tensions with Beckett as a continuous and problematic case study. Students engage with the breadth of philosophical argument found in these readings: aesthetics, politics, philosophy of history, existential ontology, metaphysics, and the philosophy of language. 

DR52020A
Samuel Beckett: Performance, Writing and Philosophy
15 Credits

This option focuses precisely on this dual nature of Beckett's work and offers students a chance to study and questions modern/ postmodern tensions with Beckett as a continuous and problematic case study. Students engage with the breadth of philosophical argument found in these readings: aesthetics, politics, philosophy of history, existential ontology, metaphysics, and the philosophy of language. 

MOPO B: Bertolt Brecht and Political Theatre
Bertolt Brecht and Political Theatre

This module offers students the chance to go beyond 'soundbite' Brecht and study this key dramatist in more detail. This module will study the career of Brecht, including the political world his drama and drama theory evolved through. Placing his work in a philosophical, historical and artistic context, this module will look at Brecht's importance for his period, his influence in post-war theatre and relevance in contemporary practice. 

DR52020A
Bertolt Brecht and Political Theatre
15 Credits

This module offers students the chance to go beyond 'soundbite' Brecht and study this key dramatist in more detail. This module will study the career of Brecht, including the political world his drama and drama theory evolved through. Placing his work in a philosophical, historical and artistic context, this module will look at Brecht's importance for his period, his influence in post-war theatre and relevance in contemporary practice. 

Elements of Theatre History
Elements of Theatre History

The aim here is to develop an understanding of the relationship between a work and its historical – social, cultural, intellectual – context. Students choose two options (each of 10 weeks) from a wide range of modules. Options are likely to change from year to year, depending on staff availability and research interests, but see below for some examples of modules recently offered.

DR52017A
Elements of Theatre History
30 credits

The aim here is to develop an understanding of the relationship between a work and its historical – social, cultural, intellectual – context. Students choose two options (each of 10 weeks) from a wide range of modules. Options are likely to change from year to year, depending on staff availability and research interests, but see below for some examples of modules recently offered.

ETH: American Theatre in the Mid 20th Century
ETH: American Theatre in the Mid 20th Century

This module is designed to give students a detailed overview of American Theatre in the 20th Century- its texts ad contexts. By looking in depth at nine plays alongside a number of key groups and movements such as the Provincetown Players, the Black Arts Movement and the American Avant Garde, and through student led presentations, we will gain a sense of the diversity and development of American Theatre throughout the century. 

DR52017A
ETH: American Theatre in the Mid 20th Century
15 Credits

This module is designed to give students a detailed overview of American Theatre in the 20th Century- its texts ad contexts. By looking in depth at nine plays alongside a number of key groups and movements such as the Provincetown Players, the Black Arts Movement and the American Avant Garde, and through student led presentations, we will gain a sense of the diversity and development of American Theatre throughout the century. 

ETH: Shakespeare & Renaissance Theatre
Shakespeare & Renaissance Theatre

This option provides a detailed examination of a range of the dramatic works of Shakespeare and his contemporaries in the English Renaissance to develop a broad understanding of themes, forms and issues (political, historical, theoretical and religious) characteristic of English culture during the reign of Elizabeth I and James I. 

DR52017A
Shakespeare & Renaissance Theatre
15 Credits

This option provides a detailed examination of a range of the dramatic works of Shakespeare and his contemporaries in the English Renaissance to develop a broad understanding of themes, forms and issues (political, historical, theoretical and religious) characteristic of English culture during the reign of Elizabeth I and James I. 

ETH: Classical Greek Theatre
ETH: Classical Greek Theatre

This module explores Greek plays in their original performance context and in the context of the modern theatre. Political and social ideas and issues are explored in order to comprehend the role of theatre in Ancient Athenian society. Students will lead seminar discussion on selected topics and, where possible, plays will be viewed on stage or on video. 

DR52017A
ETH: Classical Greek Theatre
15 Credits

This module explores Greek plays in their original performance context and in the context of the modern theatre. Political and social ideas and issues are explored in order to comprehend the role of theatre in Ancient Athenian society. Students will lead seminar discussion on selected topics and, where possible, plays will be viewed on stage or on video. 

ETH: Theatre of Revival and Revolt: 20th Century Ireland
ETH: Theatre of Revival and Revolt: 20th Century Ireland

This is a modul that looks back on Irish theatre tradition that is closely related to political conflict, beginning with the theatre of the Irish Revival in the early decades. After looking closely at the conservative mid-century Ireland and the work of Samuel beckett and Brendan Behan, the module returns again to theatre produced in times of conflict, particularly focussing on the 'Troubles' in Northern Ireland (from 1968), before concluding with the politics of contemporary Irish drama. 

DR52017A
ETH: Theatre of Revival and Revolt: 20th Century Ireland
15 Credits

This is a modul that looks back on Irish theatre tradition that is closely related to political conflict, beginning with the theatre of the Irish Revival in the early decades. After looking closely at the conservative mid-century Ireland and the work of Samuel beckett and Brendan Behan, the module returns again to theatre produced in times of conflict, particularly focussing on the 'Troubles' in Northern Ireland (from 1968), before concluding with the politics of contemporary Irish drama. 

ETH: Russian Theatre
ETH: Russian Theatre

Three seminal figures in the Russian theatre of the first half of the 20th Century have had an extraordinary impact on the development of world theatre to this day: Konstantin Stanislavsky, Vsevolod Meyerhold and Avgeny Vakhtangov. This module focuses on their different views of the theatre, their directorial principles and their collaboration with actors, playwrights and designers in the context of unprecedented political and social upheaval. 

DR52017A
ETH: Russian Theatre
15 Credits

Three seminal figures in the Russian theatre of the first half of the 20th Century have had an extraordinary impact on the development of world theatre to this day: Konstantin Stanislavsky, Vsevolod Meyerhold and Avgeny Vakhtangov. This module focuses on their different views of the theatre, their directorial principles and their collaboration with actors, playwrights and designers in the context of unprecedented political and social upheaval. 

ETH: Spanish & Catalan Theatre
ETH: Spanish & Catalan Theatre

This module concentrates on texts from two periods which are particularly rich in the history of Spanish Theatre: 1580-1680 and the 20th/ 21st Century. The texts analysed in this course will be studied within a political-historical context, while questions of staging will also be covered in relation to the specificity of theatrical art in Spain. The module culminates in the study of two plays written in Catalan and the work of a Catalan performance group which often dispenses entirely with text. 

DR52017A
ETH: Spanish & Catalan Theatre
15 Credits

This module concentrates on texts from two periods which are particularly rich in the history of Spanish Theatre: 1580-1680 and the 20th/ 21st Century. The texts analysed in this course will be studied within a political-historical context, while questions of staging will also be covered in relation to the specificity of theatrical art in Spain. The module culminates in the study of two plays written in Catalan and the work of a Catalan performance group which often dispenses entirely with text. 

ETH: African Theatre
ETH: African Theatre

The modules looks at African theatres and performances, both as products and shapers of their historical, social and cultural contexts and processes given Africa's rich historical diversity of traditions of performance. It examines the impact of colonialism on the development of theatre in Africa, as well as the responses of these theatres to key historical facts and events in Africa. 

DR52017A
ETH: African Theatre
15 Credits

The modules looks at African theatres and performances, both as products and shapers of their historical, social and cultural contexts and processes given Africa's rich historical diversity of traditions of performance. It examines the impact of colonialism on the development of theatre in Africa, as well as the responses of these theatres to key historical facts and events in Africa. 

ETH: Polish Theatre
ETH: Polish Theatre

Poland is now at the heart of the EU, with Polish one of the major "second languages" of the UK. Cultural dialogue depends on a shared awareness of key points of reference and this module offers an introduction to aspects of Polish theatre history, not least as part of a history of translation into English. We consider what a theatre history beyond "national" borders means, through the example of the difference artists whose work will be considered. 

DR52017A
ETH: Polish Theatre
15 Credits

Poland is now at the heart of the EU, with Polish one of the major "second languages" of the UK. Cultural dialogue depends on a shared awareness of key points of reference and this module offers an introduction to aspects of Polish theatre history, not least as part of a history of translation into English. We consider what a theatre history beyond "national" borders means, through the example of the difference artists whose work will be considered. 

ETH: French Theatre
ETH: French Theatre

This option studies five key texts in the history of French Theatre from the point of view of genre and generic shift in time and space. The genres of greatest importance for the purposes of this module are tragedy, romantic drama and avant-garde anti-theatre. The approach taken here is specifically sociological, all issues to do with the relationship between a work and its context being filtered through a social and societal understanding of both the theatre and history as such. 

DR52017A
ETH: French Theatre
15 Credits

This option studies five key texts in the history of French Theatre from the point of view of genre and generic shift in time and space. The genres of greatest importance for the purposes of this module are tragedy, romantic drama and avant-garde anti-theatre. The approach taken here is specifically sociological, all issues to do with the relationship between a work and its context being filtered through a social and societal understanding of both the theatre and history as such. 

ETH: Post-War British Theatre
ETH: Post-War British Theatre

This option considers the relationship between post-war drama and the cultural, political and social milieu in which it is situated. It explores the social history and creation of kitchen-sink drama and later 'In-Yer-Face' theatre and its relationship to class. The module culminates in thinking about a contemporary understanding of Britishness, looking at Black and Asian playwrights as well as the new generation of young, female playwrights and what they have t say about the state of the nation in a postmodern Britain. 

DR52017A
ETH: Post-War British Theatre
15 Credits

This option considers the relationship between post-war drama and the cultural, political and social milieu in which it is situated. It explores the social history and creation of kitchen-sink drama and later 'In-Yer-Face' theatre and its relationship to class. The module culminates in thinking about a contemporary understanding of Britishness, looking at Black and Asian playwrights as well as the new generation of young, female playwrights and what they have t say about the state of the nation in a postmodern Britain. 

Questions of Performance
Questions of Performance

This modules delivers training my introducing students to practitioners' theories practically and critically, through options of learning and teaching clustered around questions, methodological enquiries and issues that quide contemporary practice. Module choices may change year to year based on staff availability and areas of research, however, see below for a recent selection of options. 

DR52016C
Questions of Performance
30 Credits

This modules delivers training my introducing students to practitioners' theories practically and critically, through options of learning and teaching clustered around questions, methodological enquiries and issues that quide contemporary practice. Module choices may change year to year based on staff availability and areas of research, however, see below for a recent selection of options. 

QoP: Character I
QoP: Character I

This module asks the question: how does an actor approach, construct or otherwise create a realistic human being on stage? We will begin at the beginning, with the father of modern acting theory and practice- Konstantin Stanislavsky. 

DR52016C
QoP: Character I
15 Credits

This module asks the question: how does an actor approach, construct or otherwise create a realistic human being on stage? We will begin at the beginning, with the father of modern acting theory and practice- Konstantin Stanislavsky. 

QoP: Self
QoP: Self

This option introduces a range of practical skills for exploring autobiography as a starting point for writing monologues and plays, story telling, devising, creating theatre and performing. 

DR52016C
QoP: Self
15 Credits

This option introduces a range of practical skills for exploring autobiography as a starting point for writing monologues and plays, story telling, devising, creating theatre and performing. 

QoP: Gendered Performance
QoP: Gendered Performance

This option questions received definitions of gender, and considers gender as a mode of performance which is primarily unstable and capable of change. Throughout the module, students begin to contextualise their own gender performativity and explore new ways of creating performance practice, leading to a group presentation. 

DR52016C
QoP: Gendered Performance
15 Credits

This option questions received definitions of gender, and considers gender as a mode of performance which is primarily unstable and capable of change. Throughout the module, students begin to contextualise their own gender performativity and explore new ways of creating performance practice, leading to a group presentation. 

QoP: Emotion
QoP: Emotion

In this option students explore the different acting approaches to emotion working on specific body posture, facial expressions, breathing patterns, physical actions, psychological gestures, singing, image-scoring and examines how emotion can be used as a means to create a role. 

DR52016C
QoP: Emotion
15 Credits

In this option students explore the different acting approaches to emotion working on specific body posture, facial expressions, breathing patterns, physical actions, psychological gestures, singing, image-scoring and examines how emotion can be used as a means to create a role. 

QoP: Play
QoP: Play

This module considers selected practitioners working in the 20th Century who explored and used play as an underlying principle in their performance practice. It considers how, and why, they developed different play techniques and enables students to interrogate and transform these in contemporary performance making. 

DR52016C
QoP: Play
15 Credits

This module considers selected practitioners working in the 20th Century who explored and used play as an underlying principle in their performance practice. It considers how, and why, they developed different play techniques and enables students to interrogate and transform these in contemporary performance making. 

QoP: Character II
QoP: Character II

In this module students explore the notion of 'actor-as-creator' rather than 'actor-as-interpreter', taking as a starting point the physical and emotional dynamics, shapes and performative masks that make a character, treating character as a creature of endless possibilities. The module develops skills of observation of the world, the people within it and ourselves. 

DR52016C
QoP: Character II
15 Credits

In this module students explore the notion of 'actor-as-creator' rather than 'actor-as-interpreter', taking as a starting point the physical and emotional dynamics, shapes and performative masks that make a character, treating character as a creature of endless possibilities. The module develops skills of observation of the world, the people within it and ourselves. 

QoP: Voice/ Text
QoP: Voice/ Text

On this module, students explore the development of voice and text work as used by major theatre companies in the UK, beginning with the mid 20th century methods of Clifford Turner and Greta Colson. Workshops address relaxation, posture, breath, voice and articulation, and then apply this experience to the performance of text using monologues, duologues and small scene work. 

DR52016C
QoP: Voice/ Text
15 Credits

On this module, students explore the development of voice and text work as used by major theatre companies in the UK, beginning with the mid 20th century methods of Clifford Turner and Greta Colson. Workshops address relaxation, posture, breath, voice and articulation, and then apply this experience to the performance of text using monologues, duologues and small scene work. 

QoP: Questions of Community
QoP: Questions of Community

What does the word community mean? What makes a community? Drawing on the rich history of community, or applied theatre practice, students consider different techniques and approaches, and interrogate these, using experiential practice within a theoretical context. This course asks questions about your role as a performer, writer, director and facilitator and all the point in between. 

DR52016C
QoP: Questions of Community
15 Credits

What does the word community mean? What makes a community? Drawing on the rich history of community, or applied theatre practice, students consider different techniques and approaches, and interrogate these, using experiential practice within a theoretical context. This course asks questions about your role as a performer, writer, director and facilitator and all the point in between. 

QoP: Time
QoP: Time

Through the experience and perception of time, we consider rules, structure, games, methods, drawn from 20th and 21st century artists and theatre practitioner, and examine ensemble, character, narrative, devising, acting, and, of course, play with time, in time and out of time. 

DR52016C
QoP: Time
15 Credits

Through the experience and perception of time, we consider rules, structure, games, methods, drawn from 20th and 21st century artists and theatre practitioner, and examine ensemble, character, narrative, devising, acting, and, of course, play with time, in time and out of time. 

Theatre Making 2
Theatre Making 2

This module sets students the task to put the skills and ideas introduced in Questions of Performance into independent creative practice. Students develop practical and conceptual abilities and specialist skills in a chosen area of theatre making and work in companies to create and develop collaborative, research-led, full-fledged and fully technical responses to set source material. Students can choose to take on the role of either: performer, director, stage manager, dramaturge, lighting, set, costume and sound designer. 

DR52018C
Theatre Making 2
30 credits

This module sets students the task to put the skills and ideas introduced in Questions of Performance into independent creative practice. Students develop practical and conceptual abilities and specialist skills in a chosen area of theatre making and work in companies to create and develop collaborative, research-led, full-fledged and fully technical responses to set source material. Students can choose to take on the role of either: performer, director, stage manager, dramaturge, lighting, set, costume and sound designer. 


Level 6 modules

Culture and Performance: 
Critical Cultural Theory
Culture and Performance: 
Critical Cultural Theory

This module is designed to achieve one major objective: to help students develop the sensitivity necessary for the reception and interpretation of diverse cultural materials. This is done through exposure to performance forms and styles from other cultures, and also through an engagement with the politics and debates surrounding cultural contact and exchange. 

Code Module title Credits
DR53033A
Culture and Performance: 
Critical Cultural Theory
15 Credits

This module is designed to achieve one major objective: to help students develop the sensitivity necessary for the reception and interpretation of diverse cultural materials. This is done through exposure to performance forms and styles from other cultures, and also through an engagement with the politics and debates surrounding cultural contact and exchange. 

Culture and Performance B: Options
Culture and Performance B: Options

During the Spring Term, students are offered a choice of modules given them the chance to apply the skills developed during Culture and Performance: Critical Cultural Theory to a particular theatrical/ artistic movement. Module options may change year to year due to staff availability and research area but please see below for a list of the most recent options. 

DR53034A
Culture and Performance B: Options
15 Credits

During the Spring Term, students are offered a choice of modules given them the chance to apply the skills developed during Culture and Performance: Critical Cultural Theory to a particular theatrical/ artistic movement. Module options may change year to year due to staff availability and research area but please see below for a list of the most recent options. 

C&P: Art and Japan
C&P: Art and Japan

This module explores art-making as a philosophical practice with particular reference to art that has been created in Japan, created by those of Japanese origin, or inspired by Japanese culture. The particular perspectives investigated cover art practice that engages with aesthetic and philosophic notions such as an 'art of spectatorship', the notion of 'daily life as art', the concept of emptiness and the concept of 'void'; and art that engages with 'nature'. 

DR53034A
C&P: Art and Japan
15 Credits

This module explores art-making as a philosophical practice with particular reference to art that has been created in Japan, created by those of Japanese origin, or inspired by Japanese culture. The particular perspectives investigated cover art practice that engages with aesthetic and philosophic notions such as an 'art of spectatorship', the notion of 'daily life as art', the concept of emptiness and the concept of 'void'; and art that engages with 'nature'. 

C&P: Culture and Its Doubles: The Haunting of Antonin Artaud
C&P: Culture and Its Doubles: The Haunting of Antonin Artaud

The module is structured around a set of letters written by Artaud which continue to have an extraordinary resonance in their being addressed to society more widely (like the proverbial message in a bottle) through their publication. Starting with Artaud's own lecture-performances in Paris and Brussels, the module looks at questions of autobiography, orientalism, magic, out-of-body experience, film and painting as well as acting. 

DR53034A
C&P: Culture and Its Doubles: The Haunting of Antonin Artaud
15 Credits

The module is structured around a set of letters written by Artaud which continue to have an extraordinary resonance in their being addressed to society more widely (like the proverbial message in a bottle) through their publication. Starting with Artaud's own lecture-performances in Paris and Brussels, the module looks at questions of autobiography, orientalism, magic, out-of-body experience, film and painting as well as acting. 

C&P: Theatre as a Learning Medium
C&P: Theatre as a Learning Medium

This module examines the theory and practice of harnessing theatre for pedagogical purposes. Focusing particularly on work with young people in schools and other settings, we study the history and current practices of educational theatre practitioners, assessing their efficacy in delivering learning outcomes for young people. As well as studying significant practitioner such as Augusto Boal and Dorothy Heathcote, we also study key play texts and case studies of leading theatre companies. 

DR53034A
C&P: Theatre as a Learning Medium
15 Credits

This module examines the theory and practice of harnessing theatre for pedagogical purposes. Focusing particularly on work with young people in schools and other settings, we study the history and current practices of educational theatre practitioners, assessing their efficacy in delivering learning outcomes for young people. As well as studying significant practitioner such as Augusto Boal and Dorothy Heathcote, we also study key play texts and case studies of leading theatre companies. 

C&P: Modern Black British and American Drama
C&P: Modern Black British and American Drama

This module takes up the two strands introduced in Culture and Performance: Critical Cultural Theory, namely Black American and British drama from the 20th Century to the present. The module initially creates a broad contextual and generic scope which is narrowed to single-authored studies in the latter half. This enables students to access key informing debates as historically specific, but also to inter-weave these in order to construct a continuum in theatre histories which have been characterised by absence and distortion. 

DR53034A
C&P: Modern Black British and American Drama
15 Credits

This module takes up the two strands introduced in Culture and Performance: Critical Cultural Theory, namely Black American and British drama from the 20th Century to the present. The module initially creates a broad contextual and generic scope which is narrowed to single-authored studies in the latter half. This enables students to access key informing debates as historically specific, but also to inter-weave these in order to construct a continuum in theatre histories which have been characterised by absence and distortion. 

BA (Hons) Drama & Theatre Arts Dissertation
BA (Hons) Drama & Theatre Arts Dissertation

The Dissertation is an opportunity for final year students to extend themselves by looking at a single research subject of their own choosing. The dissertation requires a more sustained and focused application of the skills acquired in the writing of shorter essays, developing techniques of organisation, analysis and argumentation. It may be that the chosen subject area corresponds to a staff research interest; most importantly it should be an area for which the student feels both enthusiasm and curiosity. The dissertation is supervised by a member of the staff team. 

DR53036b
BA (Hons) Drama & Theatre Arts Dissertation
45 credits

The Dissertation is an opportunity for final year students to extend themselves by looking at a single research subject of their own choosing. The dissertation requires a more sustained and focused application of the skills acquired in the writing of shorter essays, developing techniques of organisation, analysis and argumentation. It may be that the chosen subject area corresponds to a staff research interest; most importantly it should be an area for which the student feels both enthusiasm and curiosity. The dissertation is supervised by a member of the staff team. 

Theatre Making 3
Theatre Making 3

This gives you the opportunity to study a theatrical form in depth, and to apply your acquired knowledge and skills in a group-based project. Autumn term taught sessions develop into project planning. In the spring term, rehearsals lead towards productions, performed outcomes and events. Genres range from text-based to devised performance and Live Art.

tbc
Theatre Making 3
45 credits

This gives you the opportunity to study a theatrical form in depth, and to apply your acquired knowledge and skills in a group-based project. Autumn term taught sessions develop into project planning. In the spring term, rehearsals lead towards productions, performed outcomes and events. Genres range from text-based to devised performance and Live Art.

TM3: Devised Community Performance
TM3: Devised Community Performance

In this option, students work in groups to devise a piece of theatre or performance inspired by the student's creative relationship with a particular community. The community may be defined by a geographical location or social setting, they might have a shared experience, interest or socio-cultural identity, the community might be temporary, permanent or in motion. The relationship will be nurtured through research, meetings, interviews and workshops. The aim of the final performance may be celebratory, activist, educational or seek to raise awareness, document the history of the community or being about political/social change. 

DR53032C
TM3: Devised Community Performance
45 Credits

In this option, students work in groups to devise a piece of theatre or performance inspired by the student's creative relationship with a particular community. The community may be defined by a geographical location or social setting, they might have a shared experience, interest or socio-cultural identity, the community might be temporary, permanent or in motion. The relationship will be nurtured through research, meetings, interviews and workshops. The aim of the final performance may be celebratory, activist, educational or seek to raise awareness, document the history of the community or being about political/social change. 

TM3: Devised Performance
TM3: Devised Performance

This option explores various methods of devising using different types of stimuli, such as texts (both theatrical and non theatrical), objects, space, images, play, task systems and more. Students develop strong collaborative working practices and experiment as an ensemble in relation to both methodology and final performance aesthetic. You take the responsibility to study the context, content, practical tools , and compositional, dramaturgical and collaborative strategies of devising through your own practice and research. 

DR53032C
TM3: Devised Performance
45 Credits

This option explores various methods of devising using different types of stimuli, such as texts (both theatrical and non theatrical), objects, space, images, play, task systems and more. Students develop strong collaborative working practices and experiment as an ensemble in relation to both methodology and final performance aesthetic. You take the responsibility to study the context, content, practical tools , and compositional, dramaturgical and collaborative strategies of devising through your own practice and research. 

TM3: Live Art/ Performance Art
TM3: Live Art/ Performance Art

The Live Art/ Performance Art module takes the shape of an experimental performance laboratory. This module examines alternative performance practices, critically and practically. You are introduced to a range of key artists, companies and practitioner in addition to a broad range of methodologies and compositional strategies for generating Performance and Live Art works. 

DR53032C
TM3: Live Art/ Performance Art
45 Credits

The Live Art/ Performance Art module takes the shape of an experimental performance laboratory. This module examines alternative performance practices, critically and practically. You are introduced to a range of key artists, companies and practitioner in addition to a broad range of methodologies and compositional strategies for generating Performance and Live Art works. 

TM3: Text and Performance
TM3: Text and Performance

This module focuses on the creative interaction between writing, dramaturgy, directing and performance from generating your own written text to the live theatrical event. Texts may include new plays, radical re-workings of existing texts, adaptations from other media, verbatim and playwriting. Although students will choose to specialise as writer, dramaturge, performer or director, the collaborative process will always be enabled and emphasised. 

DR53032C
TM3: Text and Performance
45 Credits

This module focuses on the creative interaction between writing, dramaturgy, directing and performance from generating your own written text to the live theatrical event. Texts may include new plays, radical re-workings of existing texts, adaptations from other media, verbatim and playwriting. Although students will choose to specialise as writer, dramaturge, performer or director, the collaborative process will always be enabled and emphasised. 

Programme specification

Programme specification

To find out more about this degree, including details about the ways you'll be assessed and information about our marking criteria, you can download the programme specification

Learning & teaching
Theatre & Performance learning & teaching

Learning and teaching

On this degree you'll attend lectures and seminars where you'll hear about ideas and concepts related to specific topics, and where you'll be encouraged to discuss and debate the issues raised. This will enhance your academic knowledge of the subject, and will improve your communication skills. You'll also carry out performance and production work, and will attend lab sessions.

But this is just a small proportion of what we expect you to do on the degree. For each hour of taught learning, we expect you to complete another 5-6 hours of independent study. This typically involves carrying out required and additional reading, preparing topics for discussion, or producing essays or project work.

This emphasis on independent learning is very important at Goldsmiths. We don't just want you to accept what we tell you without question. We want you to be inspired to read more, to develop your own ideas, and to find the evidence that will back them up. Independent study requires excellent motivation and time management skills. These skills will stay with you for life, and are the kind of transferable skills that are highly sought after by employers. 

Learning and teaching on this degree will take place through:

  • Lectures
  • Seminars
  • Tutorials
  • Performance work
  • Production work
  • Independent learning
  • Assessments

Find out more about these learning and teaching approaches.

Additional Costs

Additional Costs

The Department provides budgets to students for all of the practical work and productions, you’ll occasionally need to buy tickets to see shows, which will cost approximately £20-£40 a year.

Skills & careers
BA (Hons) Drama & Theatre Arts Skills

Skills and careers

Skills

We offer you the opportunity to become an articulate, critical, independent and self-initiating member of the cultural community by developing a range of transferable skills, including the ability to:

  • work practically as an individual and in groups
  • analyse personal practice in relation to theoretical models
  • research and present complex information
  • present ideas and analysis in a variety of formats
  • document and record ideas and information
  • take responsibility for your own ideas and respond creatively to the ideas of others
  • work to a deadline
  • share work responsibly
  • communicate and write clearly
  • practise self-discipline

Careers

When you graduate you might, like many of our students, go on to work in the theatre or related media, in publishing, administration, programming, project management, development work, marketing and publicity, management or technical production.


About the department of Theatre and Performance

About the department

Theatre & Performance

Video: Click to play
An introduction to the Department of Theatre and Performance at Goldsmiths

Performing live in a global, digital age

From ritual to the RSC, theatre is the live embodiment of the human story, however it’s told. At Goldsmiths we reflect our story and our contemporary world through the interdisciplinary and the intercultural. We explore what theatre and performance can tell us about the way we live now by drawing on everything from sociology to psychoanalysis and from politics to the playgrounds of the world.

As a department we approach ideas in many exciting and challenging ways, and as a student here you’ll have the freedom to cultivate your own creative identity. We embed theory in practice, and vice versa: our courses draw on rich staff research specialisms covering diverse areas from physical theatres and new writing to Black British performance and multimedia/Live Art. We encourage you to develop your historical and cultural knowledge, with the time and space to experiment, learn technical skills and develop your thinking and your practice.

We want you to graduate with a degree that will take you wherever you want to go with the confidence to ‘make it happen’ as an independent self-starter. We know you may work in many aspects of the industry so we make sure you gain experience across the discipline – from performing to directing, from administration to production – and learn the research and making skills to critique and transform the cultural landscape. In short, we cultivate the articulate practitioner.

Key features

We’re interdisciplinary and intercultural. As a student here you’ll be encouraged to look within and beyond British traditions into European and World theatres, studying the discipline in relation to a whole host of others from anthropology and sociology, to philosophy and cultural studies; and with specialists in African and South East Asian theatre, you will be able to discover practices you can’t study elsewhere. Meanwhile, we embrace new technologies and the important contribution they are currently making to live work.

We’re interrogative and student-centred. You can decide how to answer questions of performance through your own research. We address the politics of culture and theatre making, so that you can find what kind of contribution you want to make and which career path you might choose, armed with a range of transferable skills. We’ll give you the tools to develop your own ideas so you find your voice and create original projects from scratch.

We’re taking theatre from and back into the world. At Goldsmiths you won’t only be transferring a text from page to stage. You could be inventing, writing or devising your own. And you’ll see how theatre and performance making can transform the lives of others, whether within a prison, a school, a community or theatre venue. You’ll also be guided by a dedicated team of world-leading practitioners and theorists: 94% of our students said they’d received the help and support they need (National Student Survey 2012) whilst 99% agreed their course was intellectually stimulating.

At Goldsmiths you can:

• Learn from internationally renowned practitioners amongst our permanent staff as well as from our regular Performance Research Seminars and other prominent events

• Use our on-site facilities and performance spaces including purpose-built white and black studios, a 160-seat theatre, and scenographic, costume and lighting workshops

• Access our new Open Access Media Lab so you can and edit your own work and learn digital scenography on CAD software

• Enjoy our excellent Library facilities that include the London International Festival of Theatre (LIFT) Archive and a wide range of books and digital resources to support your learning

• Access a huge network of London venues from the Southbank Centre to Sadler’s Wells and from Battersea Arts Centre to the Barbican

• Become a rounded practitioner by getting involved in all aspects, from performing and directing to scenography, stage management, technical operation, sound, video and lighting

• Create your own Final Show specialising in your chosen form, from applied theatre to devising to new writing to Live Art; and research a written dissertation topic with expert advice from your supervisor

• Prepare for your future with our dynamic personal and professional development programme

• Go on to gain international recognition in the field – our recent graduates have won awards and commissions from the National Theatre, Soho Theatre, the RSC and The Old Vic; initiated projects funded by the Arts Council; and become cultural leaders funded by the British Council and the Rolex Mentoring Scheme

• Join a growing department where 93% of students expressed overall satisfaction with the quality of the course, with 90% agreeing that Theatre and Performance had improved their Personal Development skills (National Student Survey 2012)

Find out more

Find out more about Goldsmiths

Graduate and student profiles header text

Graduate and student profiles

Rebecca Frecknall, Dec 2012

Rebecca, BA Drama & Theatre Arts, graduated 2009

"Creative relationships which maybe started as the result of first year projects have now developed into professional artistic collaborations."

Studying at Goldsmiths provided me with opportunities and experiences that introduced me to the career I have been pursuing ever since. My tutors demanded I experience and analyse theatre in an ever evolving way, and were always ready to offer the advice or critique I sought. Tutors who I worked closely with during my time in the department continue to support me years after graduating, and creative relationships which maybe started as the result of first year projects have now developed into professional artistic collaborations.

After graduating from Goldsmiths I was fortunate enough to secure one of four places to study on the Directors Course at LAMDA. Since completing my training I have produced work regionally and in London, and have assisted directors such as Rupert Goold, Max Stafford-Clark and Natalie Abrahami. 

In 2011 I was awarded one of the Jerwood Assistant Director bursaries at The Young Vic, and then went on to be awarded the National Theatre Studio's Bursary to become Resident Director there for six months. I have just completed a period of time working as a Staff Director at the National Theatre where I assisted Sir Richard Eyre and Melly Still, and I am now beginning work with the RSC's touring company.

Programme and year of study:

Worked as a Staff Director at the National Theatre, assisting Sir Richard Eyre

Rebecca, BA Drama & Theatre Arts, graduated 2009

Worked as a Staff Director at the National Theatre, assisting Sir Richard Eyre

"Creative relationships which maybe started as the result of first year projects have now developed into professional artistic collaborations."

Studying at Goldsmiths provided me with opportunities and experiences that introduced me to the career I have been pursuing ever since. My tutors demanded I experience and analyse theatre in an ever evolving way, and were always ready to offer the advice or critique I sought. Tutors who I worked closely with during my time in the department continue to support me years after graduating, and creative relationships which maybe started as the result of first year projects have now developed into professional artistic collaborations.

After graduating from Goldsmiths I was fortunate enough to secure one of four places to study on the Directors Course at LAMDA. Since completing my training I have produced work regionally and in London, and have assisted directors such as Rupert Goold, Max Stafford-Clark and Natalie Abrahami. 

In 2011 I was awarded one of the Jerwood Assistant Director bursaries at The Young Vic, and then went on to be awarded the National Theatre Studio's Bursary to become Resident Director there for six months. I have just completed a period of time working as a Staff Director at the National Theatre where I assisted Sir Richard Eyre and Melly Still, and I am now beginning work with the RSC's touring company.

Effie Makepeace, Jan 2013

Effie, Project Manager Arts and Development, Nanzikambe Arts Development Organisation, Malawi

"My time at Goldsmiths gave me the practical and academic grounding I needed to take the next steps in my career and give me the confidence to follow an unusual path, which has led into a job I love."

I arrived at university with a very narrow idea about what I thought theatre was, and how I would work in it, and left with whole new understanding of the different worlds out there. Goldsmiths taught me to push the boundaries and take risks in my work. I was constantly inspired by passionate tutors, but also by my peers as we were encouraged to challenge ourselves, our boundaries and our preconceptions.

My time at Goldsmiths gave me the practical and academic grounding I needed to take the next steps in my career and give me the confidence to follow an unusual path, which has led into a job I love. I now work at Nanzikambe Arts, a Malawian NGO using theatre as a tool for social change. My job is mainly based in Community Theatre, running a programme of weekly workshops that reach eight marginalised communities in Blantyre - we work with young women, people with disabilities, street children and prisoners. My job involves practical delivery of workshops, design of projects, training other facilitators, fundraising and administration. I am also studying for a Masters in Power, Participation and Social Change.

Recently my work has focussed on using drama as a way to open spaces for discussion, reflection and action with prisoners in Malawi. In 2012 we began a project looking at HIV in the prisons. Together with the drama group of prisoners, we devised a hard-hitting and taboo-busting performance about the realities of prison life and HIV. This performance was toured to six other prisons in Malawi – opening up debate between prisoners themselves and also between prisoners and the prison authorities.

Programme and year of study:

BA Drama & Theatre Arts, graduated 2007

Effie, Project Manager Arts and Development, Nanzikambe Arts Development Organisation, Malawi

BA Drama & Theatre Arts, graduated 2007

"My time at Goldsmiths gave me the practical and academic grounding I needed to take the next steps in my career and give me the confidence to follow an unusual path, which has led into a job I love."

I arrived at university with a very narrow idea about what I thought theatre was, and how I would work in it, and left with whole new understanding of the different worlds out there. Goldsmiths taught me to push the boundaries and take risks in my work. I was constantly inspired by passionate tutors, but also by my peers as we were encouraged to challenge ourselves, our boundaries and our preconceptions.

My time at Goldsmiths gave me the practical and academic grounding I needed to take the next steps in my career and give me the confidence to follow an unusual path, which has led into a job I love. I now work at Nanzikambe Arts, a Malawian NGO using theatre as a tool for social change. My job is mainly based in Community Theatre, running a programme of weekly workshops that reach eight marginalised communities in Blantyre - we work with young women, people with disabilities, street children and prisoners. My job involves practical delivery of workshops, design of projects, training other facilitators, fundraising and administration. I am also studying for a Masters in Power, Participation and Social Change.

Recently my work has focussed on using drama as a way to open spaces for discussion, reflection and action with prisoners in Malawi. In 2012 we began a project looking at HIV in the prisons. Together with the drama group of prisoners, we devised a hard-hitting and taboo-busting performance about the realities of prison life and HIV. This performance was toured to six other prisons in Malawi – opening up debate between prisoners themselves and also between prisoners and the prison authorities.

Roanna Mitchell, Nov 2012

Roanna, now working as a writer, researcher and movement director

"My time at Goldsmiths was a fantastic foundation for my current work."

I graduated from the BA Drama and Theatre Arts in 2008. I now work as a writer, researcher and movement director, and teach movement and performance at the University of Kent, Goldsmiths, and the Central School of Speech and Drama. My work centers on experiences of the body from a number of perspectives, including the creative, political, and commercialised.

My time at Goldsmiths was a fantastic foundation for this work, which I am currently deepening through PhD research on ‘The Body Politics of Acting’. I disseminate and explore this work through lectures and workshops in various institutions, including the Young Vic, and through collaborations with fellow artists, including projects convened by Platform7 – which itself is founded by a Goldsmiths alumnus.

In 2011 I began working as Movement Director for Richard Schechner, taking his performance installation Imagining O to the International Theatre Festival in Kerala, India in 2012. I continue to collaborate with Schechner, as well as his associate Director Benjamin Mosse, with some exciting international projects in the pipeline.

I also work with writer and activist Susie Orbach as Artistic Director for the local-global initiative Endangered Bodies, which actively challenges the culture of profit-making from body-dissatisfaction.

It is a real pleasure to be back at Goldsmiths and accompany new student cohorts on the course that helped me do the fulfilling work I engage with today.

www.roannamitchell.com

Programme and year of study:

BA Drama & Theatre Arts, graduated 2008

Roanna, now working as a writer, researcher and movement director

BA Drama & Theatre Arts, graduated 2008

"My time at Goldsmiths was a fantastic foundation for my current work."

I graduated from the BA Drama and Theatre Arts in 2008. I now work as a writer, researcher and movement director, and teach movement and performance at the University of Kent, Goldsmiths, and the Central School of Speech and Drama. My work centers on experiences of the body from a number of perspectives, including the creative, political, and commercialised.

My time at Goldsmiths was a fantastic foundation for this work, which I am currently deepening through PhD research on ‘The Body Politics of Acting’. I disseminate and explore this work through lectures and workshops in various institutions, including the Young Vic, and through collaborations with fellow artists, including projects convened by Platform7 – which itself is founded by a Goldsmiths alumnus.

In 2011 I began working as Movement Director for Richard Schechner, taking his performance installation Imagining O to the International Theatre Festival in Kerala, India in 2012. I continue to collaborate with Schechner, as well as his associate Director Benjamin Mosse, with some exciting international projects in the pipeline.

I also work with writer and activist Susie Orbach as Artistic Director for the local-global initiative Endangered Bodies, which actively challenges the culture of profit-making from body-dissatisfaction.

It is a real pleasure to be back at Goldsmiths and accompany new student cohorts on the course that helped me do the fulfilling work I engage with today.

www.roannamitchell.com

Rosie Devine, Nov 2011

Rosie

"Goldsmiths is a really creative place, and there’s a real sense of pride in people’s achievements and having something to aspire to for future achievements."

Since graduating from the BA in 2010 I’ve been doing drama and dance workshops with Noxon Arts, a theatre and education company. I’ve also been working independently in various creative institutions that primarily work with young teenagers and young adults with learning disabilities, including Rock Creative in Devon, and Heart n Soul in Deptford, getting a sense of how theatre changes in a completely different environment – leafy Devon compared to South East London. I’ve also done work experience in primary and secondary schools to see how theatre can be implemented within a curriculum and within a more formal structure than a workshop. All of this has helped me find where I fit in within the professional world as opposed to a formal academic learning environment, and discover where I want to take and hone the skills that I’ve got.

Doing the BA at Goldsmiths prepared me for all of this because it encourages a lot of independence, not only through the independent academic learning you carry out but also in terms of rehearsing, collaborating, and building your own contacts through the practical projects you’re given. You get confident, because you learn to ‘own’ your work and you learn to try and be original with your work as well. You’re not always relying on someone to get you to do something – you’re having to organise things yourself. The way that you learn is very similar to what you have to do beyond the course – things like learning how to source your own props, book your own venues, and collaborate with people in terms of how you find the time to do what you want to do. Goldsmiths is a really creative place, and there’s a real sense of pride in people’s achievements and having something to aspire to for future achievements.

Programme and year of study:

BA Drama & Theatre Arts, graduated 2010

Rosie

BA Drama & Theatre Arts, graduated 2010

"Goldsmiths is a really creative place, and there’s a real sense of pride in people’s achievements and having something to aspire to for future achievements."

Since graduating from the BA in 2010 I’ve been doing drama and dance workshops with Noxon Arts, a theatre and education company. I’ve also been working independently in various creative institutions that primarily work with young teenagers and young adults with learning disabilities, including Rock Creative in Devon, and Heart n Soul in Deptford, getting a sense of how theatre changes in a completely different environment – leafy Devon compared to South East London. I’ve also done work experience in primary and secondary schools to see how theatre can be implemented within a curriculum and within a more formal structure than a workshop. All of this has helped me find where I fit in within the professional world as opposed to a formal academic learning environment, and discover where I want to take and hone the skills that I’ve got.

Doing the BA at Goldsmiths prepared me for all of this because it encourages a lot of independence, not only through the independent academic learning you carry out but also in terms of rehearsing, collaborating, and building your own contacts through the practical projects you’re given. You get confident, because you learn to ‘own’ your work and you learn to try and be original with your work as well. You’re not always relying on someone to get you to do something – you’re having to organise things yourself. The way that you learn is very similar to what you have to do beyond the course – things like learning how to source your own props, book your own venues, and collaborate with people in terms of how you find the time to do what you want to do. Goldsmiths is a really creative place, and there’s a real sense of pride in people’s achievements and having something to aspire to for future achievements.

Alexa Reid, ???

Alexa

Alexa is a cross-disciplinary artist whose practice fuses installation and performance. Alexa’s work is characterised by her use of site-specificity, and found objects, to develop unique immersive experiences. Alexa has led performance workshops, lectured and acted as a visiting tutor and director for a variety of arts universities.

"Goldsmiths provided a platform for exploration where I was able to develop my practice, stimulated by exciting practitioners, academics, and excellent resources."

Programme and year of study:

BA Drama & Theatre Arts graduate

Alexa

Alexa is a cross-disciplinary artist whose practice fuses installation and performance. Alexa’s work is characterised by her use of site-specificity, and found objects, to develop unique immersive experiences. Alexa has led performance workshops, lectured and acted as a visiting tutor and director for a variety of arts universities.

"Goldsmiths provided a platform for exploration where I was able to develop my practice, stimulated by exciting practitioners, academics, and excellent resources."


Content last modified: 10 Apr 2015

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