BA (Hons) Drama & Theatre Arts

This module introduces a range of theoretical perspectives that can be used to analyse diverse performance texts. Students will be looking at how historical and contemporary contexts and issues shed light on creative and theoretical developments and the work of specific playwrights, performance makers and theorists. Students will also be analysing individual plays and performances in seminars, considering the contextual influences of history and culture as well as genre and form. A variety of approaches will be covered with the intention of providing students with the tools necessary for rigorous critical and conceptual interpretation.

This module introduces a range of key theoretical perspectives that can be used to analyse a range of playtexts. The module also examines some of the major interventions in theatre over the centuries in order to assess the creative developments and outcomes in the light of key playwrights and theorists. Students will be asked to engage in textual analysis of individual plays, considering the contextual influences of history and culture as well as genre and form. A variety of approaches are covered, which can be used either individually or in conjunction, with the intention of providing the student with the tools necessary for rigorous critical and conceptual interpretation. This module will provide the conceptual basis for further and more detailed study in years two and three of the degree programme.

This module introduces the concept of ‘dramaturgy’ as the process of thinking about all the different elements that constitute a theatre experience: the composition of a performance. It also looks at different ‘dramaturgies’, that is, different ways of telling stories through performance, exploring a range of methodologies post Stanislavski and  integrating a diverse range of texts.

The module will encourage students to understand the different roles in creating work, and to start putting ideas on their feet; introduce you to different ways of decoding a play, discovering its embedded clues and meanings and exploring how writing is composed; encouraging students to consider carefully how rehearsal and preparation processes can lead to creating ‘in the moment’ live performance in front of an audience; explore how ethics and politics inform dramaturgical decisions, particularly with regard to issues of representation; and examine how harnessing the creativity of individual members of a theatre-making team, facilitating new collaborative theatremakers.

Therefore, the module is primarily concerned with interpretation and collaboration.  We will work both analytically and practically, exploring the necessary constant dynamic between the two (praxis), and students will be expected to read a range of theoretical texts, experience live performance and undertake other appropriate research (e.g. online) to provide context to their studies, and put this into action in a practical presentation. 

It will be taught by experienced theatre-makers, mainly in seminar-workshops involving analysis of text, practical exercises, lecture inputs and discussion.

This module aims to introduce you to the fundamental principles of Scenography. The term Scenography derives from the Greek sceno-grafika and can be understood as ‘writing in space’. The practice of Scenography is concerned with the dramaturgical exploration of space, the parameters of which might be described as all that exists in the performance space pertaining to the senses, for example the visual/aural language of the performance.   This module will allow you to explore Scenography as a complex system of signs by which we can both examine and imagine the potential of space, through decoding/encoding the performative space.

You will practically explore and critically examine Scenography as a dramaturgical system through 5 Scenographic Disciplines:

1. Costume
2. Lighting
3. Set and Object
4. Sound
5. Stage Management

Through these disciplines you will be introduced to a range of key concepts, practitioners, and practical processes relating to Scenography.

Phase 1 of this module occurs over the first 3 weeks of the Spring term and allows for you to engage in a wide spectrum of Scenographic Disciplines. You will experience Introductory Workshops which will engage you in the principles, techniques and management strategies employed in scenographic practice. You will be introduced to a range of key concepts, terms and practical processes through a range of technical and creative workshops. This will give you hands-on experience and a rudimentary understanding of a wide range of technical/creative scenographic skills/tools in 5 Scenographic Disciplines: Costume, Lighting, Set and Object, Sound, and Stage Management.

Phase 2 runs from week 4 to week 9 (omitting week 6 - reading week) of the Spring term and allows you to engage more fully with an elected Scenographic Discipline through Specialist Workshops (please see specialist option details for further information).

You will also work in collaborative Student Companies throughout the term towards your practical assignment in Self-directed Research and Rehearsals (see Timetable). You will devise a short Scenographic Exercise together, as well as develop a Presentation (see Assessment Details). You will each take a specific role in contributing to the project dependent on the Scenographic Discipline you have elected. Each company, therefore, will comprise of a team of specialists in a range scenographic practices.

There will be Supervised Rehearsals and Tutorials in which a tutor attends and observes your company, offers feedback on your work, consults you on your process and guides you in areas where you may have questions. These will be timetabled and organised in advance and it is the responsibility of the company to make sure they use the time with the tutor wisely. The technical team will guide your work in the Scenography workshops by arrangement, (please ensure to make specific appointments).

Theatre Making 1 is the culmination of the first year’s work for B.A. Drama and Theatre Arts and draws on the experiences in the other first year units. It is an opportunity to explore theatre making in a creative and inventive way, applying analytic and research skills to the practical realisation of performance pieces.

Students build on their knowledge of different performance styles, approaches and traditions gained in the year: a presentation of exciting and innovative work, consolidating and building on the learning outcomes the first year of study. In this respect it provides not only a culmination of the first year but a springboard for your next two years’ work.

Students gain practical experience of the relationship between the different roles that make up theatre-making teams, with an opportunity to undertake 2 distinct roles. Team-working is at the heart of this project, exploring the dynamics of leadership, decision-making and the relationship between operational/organisational concerns and the realisation of an artistic vision. 

This module will focus on how performers and spectators socially and culturally encounter space. This includes exploration of space as a tangible entity, space as an internalised experience, and space as resonant with readings from different cultural, historical, political, psychological perspectives.

This module explores the process of creating site-specific ensemble performance in response to a chosen space and spectators. Your company is able to choose from a range of interesting spaces in which you can locate your performance and learn how to work creatively within, and in response to, your chosen environment and site.

Space generates its own narratives and meanings, and in both theory and practice, you explore different approaches to working with non-traditional theatre spaces or alternative spaces. You will consider how space impacts upon reception, our relationships to the audience, and on how it is integral to the making and meaning of a work.

Such work can be called environmental, site-specific or site-sensitive, but integral is an emphasis on the site as a prime location of material, process and engagement.

A series of five lectures and related film screenings at the start of the spring term will introduce various ways of interpreting spaces through different critical frames, practices and case studies, and this will be further explored in the practical/seminar sessions. The practical component of this module will develop imaginative, physical, and vocal skills along with further improvisational and devising strategies for ensemble group composition in a site-specific context. Physical training methodologies expand to include more internal ways of connecting to space, time, body, spaces and atmosphere, history and narrative, as well as techniques to encourage a playful, physical freedom in connection to surfaces, bodies and architectures. In addition methods of working with voice and text allied with physicality, within the context of the ensemble and site-specific practice, will be developed.

Students will also attend a set number of master classes during the term. These training methodologies assist in developing your approach to working environmentally and site-specifically, either indoors or out within the Goldsmiths campus.

There will be one departmental visit in the spring term to s show in a London site to see a company working in relation to site/space/place. Students will be asked to write a 1000-word essay analysing the show and drawing on the language of Performance Analysis and Site Specific Practice, which are introduced and explained on the course. This component enables you to begin to extend your critical vocabulary with which to ‘read’ the entirety of a performance in relation to site/space/place, and to articulate your responses accordingly. In the final post-show evaluation seminar, you will be guided to understand how to apply such a methodology to the development of your own company’s practical performance, and the critique of others’ work.

This module addresses various approaches to imaginative, physical, and vocal training of the actor drawing from a wide range of Twentieth Century key practitioners. You will be introduced to a selection of approaches to ensemble training that will include the core skills and principles needed for this practice.  In tandem will explore key research strategies, and you will carry out your own experimentation and critical questioning.

Practical exploration of the ensemble is complimented by seminar discussions and film screenings that assist you in making links between historical and contemporary precedents and what you are discovering in your own training and experiments. The film screenings at the start of the course provide an introduction to the type of work made by a range of ensemble practitioners during the twentieth and twenty-first centuries.  Each practical session is framed thematically in relation to ensemble practice. The seminars focus on the investigation the work of a selection of key historical Twentieth Century pioneers of ensemble training and practice. Their work, and methodologies, will be examined within their respective historical, socio-political and cultural contexts. Practitioners include, for example, Eugenio Barba, Pina Bausch (Laban, Wigman and Jooss), Augusto Boal, Peter Brook, Michael Chekhov, Jerzy Grotowski, and Jacques Lecoq (and Suzanne Bing) and Konstantin Stanislavsky, and their heritages in companies such as: Black Mime Theatre Company, Cardboard Citizens; Complicite; Forced Entertainment; Frantic Assembly; Improbable; Robert Wilson; Station House Opera; Sasha Waltz and Guests; Song of the Goat; and Ariane Mnouckhine and Théâtre du Soleil.

Through this symbiotic practical and theoretical work, you focus on how meaning is generated in performance, and begin to ask basic questions about Theatre Making, to explore further in your own work and your analysis of material created by other artists. 

The screenings of key footage are framed through an introduction to the language of Performance Analysis and models of Ensemble Practice, drawing upon the primary reading texts by: Rose Bonczek and David Storck (2013); John Britton (2013); Colin Counsell and Laurie Wolf (2001); Dŭska Radosavljević (2013); and Jon Whitmore (1994).

One departmental visit will take place in the autumn term to a London venue to see the work of a company working integrally with the idea of the ensemble, or for whom ensemble training is a core process.  Students will be asked to write a 1000 word essay analysing the show and drawing on the language of Performance Analysis and Ensemble Practice, which are introduced and explained in the seminar discussions.  This component enables you to begin to acquire a critical vocabulary with which to ‘read’ the entirety of a performance, and to articulate your responses accordingly. In the final post-show evaluation seminar, you will be guided to understand how to apply such a methodology to the development of your own company’s practical performance, and the critique of others’ work.

Theatre Making 2 sets students the task to put the skills and ideas introduced in Questions of s Performance into independent creative practice. Students develop practical and conceptual abilities and specialist skills in a chosen area of theatre making and work within companies to create and develop collaborative, research-led, full-fledged and fully-technical responses to set source material and given set restrictions.

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. 

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. 

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. 

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. 

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. 

This module addresses historical and contemporary links between avant garde theatre practices and political activism. It expands and deepens the study of artistic practices begun in Modernisms and Postmodernity A, with a focus on the activist elements of theatrical movements and parallel political organisations.

Through the critical analysis of 20th-century case studies, you will develop an understanding of the adoption of avant garde techniques from Dada to Live Art to 'In Yer Face' realism.

You will consider particular theatrical protest performances drawn from organisations including Bread and Puppet Theatre, Vietnam Veterans Against the War, El Teatro Campesino, Solidarity, Greenham Common Women's Peace Camp, ACT-UP and more.

Through targeted critical readings, you will situate their analyses of these performances within recent scholarship on the efficacy of political performance in a globalised, postmodern world.

How do social identity categories function politically in contemporary society? What role does gender play in promoting social and political norms? Can the performance of transgressive genders and sexualities create challenges to these norms, or do we inevitably reproduce dominant frames of power and belonging? This module responds to these questions with an introduction to third wave feminism and queer theory.

The module's broad emphasis on the trangressive performance of identities will enable you to gain a comprehensive understanding of key debates in postmodern gender theory and practices.

Through an examination of plays, theatre companies, activist groups, and social performance, you will learn to apply critical concepts to the form and content of relevant performances.

Key theoretical scholarship will be considered each week alongside related play texts, videos or documentary sources. Weekly lectures will provide detailed context and provocations for further discussion/debate. Topics addressed will include late 20th and 21st century gay and lesbian theatre, postmodern feminist performance art, and queer identities broadly defined.

This module is designed to give students a detailed overview of American Theatre in the 20th Century- its texts and 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. 

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. 

Ancient Athenian drama lies at the roots of the Western dramatic tradition. This course explores Greek plays in their original performance context and in the context of modern theatre. It examines the social, political and religious role of theatre in ancient Athenian society, and reflects on some of the ways in which Greek theatre has been translated, adapted and re-imagined in later cultures.

Over the course of the module, we’ll study example by each ancient playwright whose works survive to the present day (Aeschylus, Sophocles, Euripides), as well as exploring the satyr play, and Aristophanes’ comic reflections on tragic playwriting. We’ll also consider ideas of ‘performance reception’, comparing these ancient plays in their historical context with the ways in which modern theatre-makers have revised, contested and transformed ancient dramatic texts to address their own societies.

The following plays will be discussed: Aeschylus: Oresteia, Aristophanes: Frogs, Euripides:

The Bacchae, Cyclops, Sophocles: Women of Trachis, Oedipus Tyrannus

The following modern versions of ancient plays will also be studied: Martin Crimp: Cruel and Tender, Yael Farber: Molora, Tony Harrison: The Trackers of Oxyrhynchus, Neil LaBute: a gaggle of saints.

Theatre in the island of Ireland has had a profound influence on the development of modern drama, producing some of the most influential writers – and performances – of the 20th Century: a list that includes W. B. Yeats, G. B. Shaw, J. M. Synge, James Joyce, Sean O’Casey, Samuel Beckett, Brendan Behan, Brian Friel, Tom Murphy and Marina Carr. This module explores how Irish theatre has been intertwined with political conflict and crisis from the Irish Revival, through the ‘Troubles’ in Northern Ireland (1968-1998), to the neoliberal boom-and-bust economy of the Celtic Tiger. Broadly, it will seek to explore the political problematics of theatrical representation and enactment: as W. B. Yeats famously pondered in his poem Man and the Echo: ‘Did that play of mine send out/ Certain men the English shot?’ The module will begin with the theatre of the Irish Revival in the early decades of the 20^th century. The Abbey Theatre’s close and not always comfortable associations with a cultural nationalist movement that would culminate in the War of Independence (1919-1921) are considered here in depth. After looking closely at the conservative mid-century Ireland and the work of Samuel Beckett and Brendan Behan, the module then returns to theatre produced in times of conflict, particularly focusing on plays addressing the violence in Northern Ireland. The module will then move on to playwrights and productions that address issues that have arisen in recent decades – gender politics and the crisis in Irish national masculinity in 1990s theatre (Marina Carr & Conor McPherson); sectarianism, paranoia and the peace process in Northern Ireland (Owen McCafferty) – before concluding on contemporary queer performance in the Republic and Northern Ireland (Stacey Gregg, Panti Bliss).

Three seminal figures in the Russian theatre of the first half of the twentieth century have had an extraordinary impact on the development of world theatre to this day: Konstantin Stanislavsky, Vsevolod Meyerhold and Evgeny Vakhtangov. This course 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. The plays selected here were indicative of the changes taking place, and of fundamental importance to the revaluation of theatre practice during this time.

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. 

The study of the history of theatre and performance in Africa requires the recognition that in dealing with theatre in Africa, one is dealing with a variety of traditions of performance. These traditions have developed mostly along parallel trajectories, and only sometimes intersecting each other’s paths. This course will therefore look at the major traditions of drama, theatre and performance in Africa; it will specifically look at the indigenous oral theatres and performances, the popular/ travelling theatre tradition, the Western-influenced and mainly university-based literary drama and theatre tradition, the interventionist theatre-for-development practice, and video drama genre. The course will look at these theatres and performances, both as products and shapers of their historical, social and cultural contexts and processes. It will examine 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. Examples will be drawn mainly from Nigeria, Ghana, Kenya, Sierra Leone, South Africa, Ivory Coast, Senegal, Tanzania, and Zimbabwe.

This module will provide you with a historical overview of alternative theatre practices in Britain since 1968. Weekly topics will address the diversity of alternative theatre practice in the late 20th century, including, for example, experimental, political, community, black and asian, gay and lesbian, and disability theatres.

The study of each particular performance, company, play or practice will be contextualised within the political and social issues of its time period. In this way you will gain a sense of the rich diversity of theatrical responses to major events of the time period. In addition, you will engage in readings and activities that further their understanding of theatre history as an academic practice.

You will be introduced to particular historiographic approaches and methods, including the treatment of various source materials such as biographies, recorded testimonies, archived documents, published reviews, and oral histories. These skills will be practiced through the development of a small digital archive project, which will provide a basis for your final essay.

Contact between British and Polish theatres stretches back at least to Jacobean players performing in Gdansk (with Henry Chettle’s The Tragedy of Hoffmann [1631], for instance, partly set in “Dantzike”, after the city’s Prussian name of Danzig), through Edward Gordon Craig’s interest in the work of Stanislaw Wyspianski in the early twentieth century, to students participating in training workshops today with such companies as Teatr Zar or Song of the Goat.

Once part of the “other Europe” during the Cold War, Poland is now at the heart of the EU, with Polish one of the major “second languages” of the UK also. Cultural dialogue depends on a shared awareness of key points of reference and this module will offer an introduction to aspects
of Polish theatre history, not least as part of a history of translation into English. Each week, in both tutor- and student-led presentations, different themes will be considered, such as: repertory and “alternative” approaches to literary theatre; ensemblebased, physical or visual theatres; forms of actor training and the diversity of playwriting; individual directors’ “visions” and themes from the “national canon”; the Polish-Jewish heritage; the interplay of aesthetics and politics, of Romanticism and avant-garde, of past and present.

As the module material is in English, we will be considering what a theatre history beyond “national” borders means, through the example of the different artists whose work will be considered (from Mickiewicz to Staniewski; or between Kantor and the Theatre of the Eighth Day).

Students will examine the ways in which playwrights, directors and companies from France and from its former colonies negotiate questions of identity, emancipation, resistance and artistic innovation.

France is currently living through one of the most convulsive periods in its post-war political history. The after burns of its colonial past and the role it played in the bloody Algerian War of Independence (1954-62) are still felt on a daily basis, with tensions running high between the state and police, and what are perceived as ‘immigrants’, even though they have lived in France for three or four generations.

Urban planning and the relegation of the immigrés to the banlieues – huge tower blocks outside city centres – only exacerbate the situation. This module looks at playwrights and other theatre-makers both from France and from Africa, the Caribbean and Canada who tackle France’s colonial past, and its postcolonial present. All the theatre-makers analysed on the module illustrate how today questions of identity and ethnicity in France and in its former colonies, are live, unresolved, and fluid.

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. 

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. 

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. 

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. 

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. 

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. 

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. 

In the Culture and Performance modules, you will investigate contemporary notions of identity and culture in the UK and around the world in relation to an increasingly globalised world. Contemporary Britain is perceived as progressively more multicultural; at the same time, there is an evolving awareness of the impact of global trends in society and culture. These and other factors are challenging our extant notions of individual and collective identity and culture, as well as community.

Culture and Performance begins with a single module taken by all students in the Autumn term – 'Culture and Performance: Critical Cultural Theory'. This 10-week module introduces students to key theoretical perspectives on the function of performance for the negotiation and perpetuation of cultures and societies. Students will become familiar with current debates on interculturalism, multiculturalism, nationalism, and the globalisation of cultures, through a diverse range of historical and contemporary case studies.

In weekly seminars students will be encouraged to interrogate and debate their own creative and political relationships to performance cultures of various kinds. This module will equip students with the necessary theoretical tools to effectively position themselves as artists within global, postcolonial, multicultural, and/or intercultural communities.

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. 

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'. 

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. 

This module takes up the two strands introduced in Culture and Performance in Term one, namely black American and British drama from the twentieth century to the present. The texts studied investigate points of convergence and divergence in representing blackness and black people’s experiences on both sides of the Atlantic. From the American perspective the chronological starting point is Angelina Weld Grimke’s legacy and how the drama produced throughout the 1920s prefigures the later influential cultural activism of the 1960s Black Arts Movement and continues women playwrights’ longstanding associations with experimental writing. In the British context, the initial investigations reside imperfectly in white writers’ representations and the dominance of black performers from abroad due to the absence of any plays penned by a black writer in Britain before the 1930s.

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, sporadic inclusion or distortion. Attention to single authors enables detailed application of these ideas to a body of the dramatists’ work and requires the reading of no fewer than two of their plays each week. From time-to-time, there will be comparative analyses of plays by white peers bearing in mind the dominance of white-centred experience in both nations’ artistic contexts and theatre complexes. Theorisation models will expose students to Afro-centric and Euro-centric examples. By virtue of the newness discursively of the field of Black British writing and drama in particular, the module is to be viewed as a series of incisive snapshots aimed to facilitate student interest with the expectation that further research will add to the emerging critical mass. In particular, the historical dominance of Caribbean-derived experiential models from the 1970s-2000s is later contoured by the increased Nigerian-centring theatrical presence of neo-millennial playwrights which, although beyond the scope of the module in any detail, students are welcome to pursue this as a research area for the assessed essay.

Given the political and ideological conditions of enslavement and colonisation heritages, the module acknowledges the shared ground of racial oppression (amongst other inhibitors) but aims to explore the nuanced and distinctive politicised aesthetics which have emerged across the century as responsive to the very different locations of the United States and the United Kingdom.

Along with love, warfare has been one of the most constant themes since the earliest European theatre. Rather than just studying theatrical representations of war, this module examines how theatre might contest war, condemn war, and seek peace, justice and respect for human rights.

Significantly, given the context of the ‘Culture and Performance’ umbrella under which this module will be taught, students will examine how theatre might challenge the ways in which elements of performance – spectacle, theatrics, mise en scène – are militarized by the military, states and the dominant media during times of war.

The module asks the following questions:

• To what extent can/does theatre reveal the atrocities of war that tend to be omitted from more mainstream formats, which tend to glorify or sanitise war?
• To what extent is it appropriate to stage these atrocities?

In each case, the module will situate the play within the historical, geographical and cultural contexts in which it was written and produced. Given current debates around viewing images of beheadings, or chemical gas attacks in the news, and the theatricality intrinsic to the creation of these images, these questions concerning the ethics of spectatorship are timely and urgent.

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. 

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. 

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. 

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. 

This module aims to provide experiential learning opportunities that will enhance your academic studies and offer the opportunity for personal development. It will allow you to:

• Learn skills relevant both to academic achievement and to discipline-related career opportunities
• Gain effective personal development programmes
• Experience life in the workplace and gain valuable employment experience

An advantage of this model is that it draws on the expertise of the department of Theatre and Performance in facilitating students’ academic development and of the Work Placement Manager in working on their personal development.