BA (Hons) Theatre Studies at Rose Bruford College Brochure

 

Rose Bruford College of Theatre & Perfo Performance rmance

By Distance Learning

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 A University Sector Institution  – Principal & Chief Executive: Professor Michael Earley  A company Limited Limited by Guarantee Guarantee  – Registered in England No 508 616  – Registered Charity No 307907 Accept All Member of Conference of Drama Schools

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  Welcome

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The College

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The Theatre Studies Programme

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The Virtual Learning Environment

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Portfolio of Modules

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Level 1 Level 2

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Level 3

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Course Information

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Fees

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Teaching

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Permanent Academic Staff

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Module Tut Tutors ors

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Administrative Administra tive Staff

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Contacts

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  Dear Enquirer, 

May I take this opportunity to introduce you to Rose Bruford College  and in particular to the Theatre Studies  programme. I hope that the informa information tion contained in this e-brochure will answer any questions that you may have and encourage you to apply for the Theatre Studies degree.   Rose Bruford College is a college of Higher Education within the British University Sector. It has an unequalled reputation in providing a wide range of undergraduate and postgraduat postgraduate e progr programmes ammes in thea theatre tre and related arts. The Distance Lear Learning ning courses allow us to offer some of the best examples of our highest quality work to

people wherever they live. The BA (Hons) in Theatre Studies is the only full degree programme in the UK for those who wish to study theatre and performance by Distance Learning. Furthermore, there is no comparable programme by Distance Learning elsewhere in the world. Our degrees are curren currently tly validat validated ed by the University of Manchester. The degree is intended ffor or anyone who wishes to develop a thorough knowledg knowledge e of theatre from iits ts beginnings to con contemporary temporary performance. In deliveri delivering ng this programme we aim to be flexible by offering a range of areas for study around a central core of key topics. The programme is also designed in such a way that students can choose how much they undertake each year; and vary the rate at This website storesthey data such as which progress through the degree. cookies to enable essential site functionality, as well as marketing, personalization, and analytics. You I hope that you will enjoy reading may change your settings at any time you on to the programme. or accept the default settings.

this booklet and that next year we will welcome

Jayne Richards Privacy Policy Programme Director: Theatre Studies Rose Bruford College

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In 1950, Rose Bruford founded a drama school and developed a unique course of actor training. By 1976 she had pioneered the first vocational degree in acting. The College has been building on that success ever since with a range of programmes across all the professions of theatre. Rose Bruford College is one of the largest centres of theatre training and education in the UK. Situated in the peaceful surrounds of Lamorbey Park in Sidcup, the College combines the heritage listed Lamorbey House with the most up to date facilities in a new set of buildings completed in 2002. Our student body is diverse, especially on the Distance Learning Programmes, and our courses are designed for those who intend to pursue a professional career in the creative industries, either from the perspective of a specialist discipline or in the broader context of a genre or geographical area, are seeking to extend their knowledge to enhance their appreciation of theatre and performance, or wish to undertake a practice-based research programme to enhance their professional standing. The College embraces the broadest range of performing arts and skills and seeks to provide an educational experience that offers all students the breadth of skills and knowledge required to be successful in a rapidly changing world. In establishing the Distance Learning degrees in 1996, the College broke new ground in the delivery of performance-based programmes to students worldwide. Our BA programmes are distinctive, innovative and unique. Our teaching and administr administrative ative staff are of the highest quality and again reflect the balance of expertise in education and professional practice. The College is home to a thriving research culture and in addition to our academic staff, practitioners drawn from theatre, film and television teach and lead projects on all programmes and provide a direct link to the creative industries. Our undergraduate and post-graduate programmes are validated by the University This website stores data such as cookies to enable essential siteand, where appropriate, by the National Council of Drama Training of Manchester functionality, as well marketing, (NCDT).asThe College is a member of the Conference of Drama Schools (CDS) and personalization, and analytics. You eight specialist art, design and performing arts colleges comprising the may changeone your of settings at any time or accept the default settings. Consortium of Arts & Design Desig n Institutions in Southern England (CADISE). Privacy Policy Marketing Personalization Analytics Save

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The programme offer offerss students a unique opportunity to study theatre whilst balancing work and family commitments. Students work at their own pace and from their own homes  – wherever in the world that might happen to be. We aim to give our students a thorough knowledge of diverse aspects of performance ranging from the social, historical and aesthetic contexts in which performance flourishes to the practitioners, directors and actors who create it and the theatres, sites and spaces in which it is made. The programme is divided into three levels. Each level is equivalent to one year of a full-time degree although Distance Learning students may decide to spread their work over a longer period of time. You may study purely for your own interest and pleasure but on the completion of each level you will accumulate enough credits to earn a qualification: Completion of Level 1 (120 credits) will qualify you for a Higher Education Certificate in Theatre Studies  Completion of Levels 1 and 2 (240 credits) will qualify you for a Higher Education Diploma in Theatre Studies  Completion of Level 1 and 2 plus 60 credits at Level 3 (300 credits) will qualify you for a BA degree in Theatre Studies  Completion of Levels 1 and 2 plus 120 credits at Level 3 (360) credits will qualify you for a BA Honours degree in Theatre Studies 

This website stores data such as cookies to enable essential site functionality, as well as marketing, Within level, personalization, and each analytics. You the programme of study is divided into modules, each focusing may change settings attopic. any time onyour a specific Some modules are obligatory, as they are essential to the study or accept the default settings.

of theatre, but there is also a wide choice of elective modules to enable you to pursue your particular areas of interest as you progress. Each module comprises a Privacy Policy series of units, a Module Reader containing materials referenced throughout the module and all the other information you will need to get started. Each unit is Marketing designed to provide enough material for you to study in a month. A unit might Personalization include notes, exercises, documents and illustrations  – all of which are designed to Analytics give you the same information as if you were face-to-face with your tutor. tutor. Save

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The VLE was launched in Summer 2010 and is based on Moodle - a user-friendly and intuitiv intuitive e piece of education software. In order to access the VLE, and indeed to pursue the course, you will need reliable and regular access to the internet. You You will also be expected to answer emails sent to the account which we will provide for you on a regular basis. Your VLE login details will be provided after you have registered. In addition to the module which you have enrolled for, you will also have access to the online aspects of the LRC and College study support services. Your module materials and further reading can be downloaded from the VLE, and you can also link to other useful resources and websites. In addition to being a data repository, the VLE is also your primary means of interacting with the College, your You ou will find a variety of study forums, e-tutori e-tutorials, als, chat   tutors and your fellow students. Y rooms (for conducting online tutorials in real-time) and other social networking tools within the VLE. No prior experience of VLEs or Moodle is necessary and there are video tutorials to introduce you to the basics of the site.

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Level 1: 120 credits Obligatory Theatres at Work Elements of the Performance Reading a Play Ways of Talking About Theatre

Level 2 : 120 Credits Obligatory Shakespeare  Naturalism

Level 3: 120 Credits Obligatory Topics in Contemporary Theatre This website stores data such as cookies to enable essential site functionality, as well as marketing, personalization, and analytics. You may change your settings at any time or accept the default settings.

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Elective   American Theatre Theatre and Dra Drama ma Post-war British and Irish Playwrights   The Director The Designer The Actor and the Realist Tradition  Musical Theatre: The American Golden Age 

Elective  Brecht & the Epic Tradition in German Theatre   Beyond the Stage Post-Colonial and Black Theatre Elizabethan, Jacobean and Caroline Theatre  Ancient Greek Greek Trag Tragedy: edy: History a and nd Recep Reception tion  Independentt Research Project Independen Shakespeare in Performance Theatre of the Absurd Theatre Criticism The Director’s Story

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 T.1.1 Theatres at Work  

This module identifies and explores the techniques and challenges of presenting theatre today. today. It includes an in-depth study of how a prof professio essional nal theatre company functions in terms of its artistic policies, marketing strategies and funding initiatives. Much of the student’s work will be based on the study of a professional theatre company through special arrangements negotiated by the College. T.1.2 Reading a Play  

This module explores ways of analysing dramatic writing in terms of its potential impact and meaning in the thea theatre. tre. Student Studentss examine dramatu dramaturgy rgy from the perspective of a director and focus on ways in which a text becomes a blueprint for performance. Plays currently studied include: Macbeth, Copenhagen,  A Doll’s Doll’s   House, and  Accidenta  Accidentall Death of an Anarchist . The module simultaneously explores key principles and theories about dramaturgy while encouraging students to recognise how it is repositioned by performance contexts. T.1.4 Ways of Talking Talking About Theatre: The Critical Audience 

This module examines the relationship between meaning and “text” by examining a range of approaches to performance. It investigates how conventions of genre, acting styles, direction and design signify in diff different erent wa ways. ys. By taking the rrole ole of “the critical audience” students explore how contemporary productions are shaped by their historical, cultural and artistic conditions and discover ways of re-framing them within contemporary critical perspectives. Students watch recordings of a range of plays, operas and devised material and are guided through ways of analysing This website stores dataaction such asand production choices and articulating their experiences. cookies to enable essential site functionality, as well as marketing, personalization, and analytics. You T.1.5 Elements of the Performance  may change your settings at any time This module introduces key traditions or accept the default settings.

or “elements”   of theatre-making. Students explore the means by which the performing body is codified through visual elements such as costume, make-up and mask. They examine the relationship Privacy Policy between text, space and action, the changing social and political functions of Marketing performance and the role of cont context ext in meaning-making. This module intr introduces oduces Personalization students to the evolution of various theatrical forms and traces the fusion of styles Analytics

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Obligatory Obligato ry Modules T.2.1.1 Naturalism (obligatory) 

This module interrogates interrogates Naturalism in its historical context. The module looks at the impact of science and technology and the new perspectives of sociology and psychology. The works of important writers including Zola, Ibsen, Strindberg and Chekhov are studied alongside practitioners such as Stanislavski and Antoine. Particular attention attention is given to the comparative analysis of play-te play-texts xts and the ways in which, within Naturalism, they embody different aesthetic preoccupations and generate different different experiences in the theatre.

T.2.1.2 Shakespeare  (obligatory) 

This unit approaches Shakespeare both through his historical context and contemporary performances. One play is studied in each unit, from across the full span of this playwright’s work: Romeo and Juliet , Twelfth Night , Richard II, Henry IV  part one, Othello,  Anton  Antony y and Cleopatra, The Winter’s Winter’s   Tale  and The Tempest . In addition to focusing on the texts, there is a parallel study of Shakespeare’s  society, ideas, language, theatres and st stage age con conventions. ventions. Students are in introduced troduced to contemporary critical perspectives and encouraged to analyse performances from a range of angles.

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  T.2.2.1 The Director  (elective)  (elective) 

This module traces the ascendancy of the director in European theatre. theatre. It examines the work of major practitioner practitionerss in the twentieth and twenty-firs twenty-firstt centuries in terms of their treatment of classical and contemporary plays, their theoretical writing and their historical and cultural cultural cont context. ext. In looking at major figures an and d their contrib contribution ution to theatre practice, the module considers the developing role of the director in contemporary theatre and the ways in which the contribution of the director to the theatre event might be critically identified and examined. T.2.2.2 The Designer (elective) 

This module examines the role of designers in theatre and opera from the Italian Renaissance to today. The module examines the approaches of particular designers to script, theatre space, space, actors and audience. The module identifies some of the the working processes of professional theatre designers enabling students to document, analyse and interpret the design choices in a contemporary production. The module is divided into historical appraisal, exploration of the work of individual practitioners and investigation investig ation of theories of design. T.2.2.3 The Actor and the Realist Tradition (elective) 

This module provides an historical overview of the changing social role and economic status of the actor. actor. It introd introduces uces students to the dominant approach to acting of the last hundred years, which is that of Stanislavski, and guides them through the process of the actor’s  own preparatory work for rehearsal through a series of exercises and tasks. This gives students the personal basis for an introductory reading of Stanislavski and the contrasting theoretical perspectives perspectives of two other key figures: Michael Chekhov This website stores data such as and Bertolt Brecht. cookies to enable essential site functionality, as well as marketing, personalization, and analytics. You may change your settings at any time or accept the default settings.

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T.2.1.4 Post-W Post-War ar British and Irish Playwriting (elective)

is module provides an in-depth study of British and Irish playwriting over the past sixty years. A wide selection o off plays is examined and compare compared, d, including key twentieth century works by Churchill, Osborne, Behan and Wesker Wesker.. The module focuses on the work of the dramatist and introduces systematic ways of reading and analysing modern playwriting. T.2.1.5 American Theatre and Drama Drama (elective)

This module provides an overview of post-war American Theatre and examines some pre-war movements and writers in detail. Amongst the dramatists studied are Williams, Miller, Miller, Shepard, Mamet, Wilson and Wasserstein. Wasserstein. Placing American Drama within its wider social, political, theatrical and theoretical frameworks, the module investigates investig ates the ways in which cultural difference, nationhood, the “American Dream,”  frontier myths and sexual politics are engaged and negotiated in American playwriting. T.2.3.1. Musical Theatre: The American “Golden “Golden   Age”  Age”  (elective) 30 credits 

This module investigates the world of musical theatre from a twentieth-century American perspective (focusing on productions spanning from 1920s-1970s). Students will explore the theatrical forms that influenced the musical as it is widely known. For example, Mi Minstrelsy nstrelsy,, V Vaudeville, audeville, Burlesque, R Revue, evue, Comic Opera and Operetta. Operett a. Each unit will focus on those writer writerss and composers and the pr productions oductions that contributed contributed to the dev development elopment of Ameri American can Musical Theat Theatre: re: Jerome Kern, Showboat  Oklahoma! ; Rodgers and and Hammerstein, and Carousel  ; Lerner and Loewe My Fair Lady  , Jule Styne Arthur Larents, Gypsy,  Stephen Sondheim,  A Funny Thing This website stores data such as Happened onsite the Way to the Forum, and A Little Night Music, respectively. cookies to enable essential functionality, as well as marketing, personalization, and analytics. You may change your settings at any time or accept the default settings.

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  T.3.8 Topics in Contemporary Theatre (obligatory) 

This module addresses a range of contemporary material, including various moments and movements, playwrights and other practitioner practitioners. s. Students are encourag encouraged ed to carry out more intensive study on particular topics of interest. Specific aspects of recent and contemporary theatre practice are introduced, including feminist and gay theatre aesthetics, black theatre, political theatre of the 1970s and 1980s, physical performance and new playwriting. T.3.2 Elizabethan, Jacobean and Caroline Theatre (elective) 

This module focuses on the thriving age that gave rise to the theatre of Shakespeare and introduces the study of other key dramatists such as Kyd, Marlowe, Chapman, Heywood, Dekker, Jonson, Marston, Webster, Tourneur, Middleton, Ford, Massinger, Beaumont and Fletcher. The module looks at the composition of audiences, the organisation of the theatre, and its dependence on patronage; and the physical structure of the playhouse. T.3.6 Beyond the Stage: At the Frontiers of Theatre (elective) 

This module investigates attempts to rediscover theatre outside of theatre buildings and provides an opportunity to study and analyse the interaction of theatre and community. Indicative examples are: Total theatre, Brecht’s  Lehrstücke, Boal’s  Theatre of the Oppressed, Odin Teatret’s  “barters”,   performance art, street theatre and This website stores data such as experiments cookies to enable essential with site ritual and celebration. functionality, as well as marketing, personalization, and analytics. You may change your settings anyEpic time Tradition in German Theatre  (elective)  T.3.9 Brecht andatthe or accept the default settings.

This module provides an introduction to one of the most influential dramatists and theorists of the twentieth century. It also studies German traditions from the Privacy Policy eighteenth to to twentieth cent centuries. uries. Particular at attention tention will be paid to the staging a and nd Marketing music of Brecht’s plays including The Threepenny Opera, The Exception and The Rule, The Mother  and  and Mother Courage. Personalization Analytics Save

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  T.3.1. Research Project  (obligatory  (obligatory for Honours Degree only)  

In this module, students undertake a 10,000 word research project on a subject identified and defined thr through ough discussion with the Progr Programme amme Director Director.. The choice of research topic might derive from earlier work on the programme or in certain circumstances it might take the form of an extended essay based on a practical project. The independen independentt research pr project oject is supported by ttutorial utorial supervision and replaces the traditional units. T.3.3. Post-Colonial and Black Theatres (elective) 

This module places a particular emphasis on performance and theatricality in postcolonial contexts. It adopts an intercultural perspective on performance and emphasises the significance of historical (social, political and economic) contexts in the creation of meaning through performance. Rather than presenting a general history of post-colonial thea theatre tre or an exha exhaustive ustive analysis of all black ttheatre heatre fforms, orms, the module selects specific aspects of the subject to demonstrate the relationship between text, performer, performer, and space. T.3.4. Ancient Greek Tragedy: His History tory and Reception (elective)

This module explores Greek plays in their ancient socio-political and performance contexts and in the contexts of their transformations in subsequent theatre spaces, manifestations manifest ations and cultu cultures. res. Students will analyse tragedies by Aeschylus (Oresteia), Sophocles (Philoctetes) and Euripides (Medea), as well as considering the nature and

purpose the Ver Versions sions of these dramas by This website stores dataofsuch as satyr play (Euripides’  Cyclops). contemporary cookies to enable essential siteplaywrights and film-makers (including Yael Farber, Neil LaBute, functionality, as well marketing,Liz Lochhead and Tony Harrison) will also be examined in order to SeamusasHeaney, personalization, and analytics. You introduce and interrogate the theory and practice of classical performance reception. may change your settings at any time Each unit within the m within module odule offe offers rs a specific and distinct pers perspective pective upon tthe he or accept the default settings. evolving field of classical performance reception. Issues of politics, gender and postcolonialism, as well as theatre history, historiography and appropriate practitioner Privacy Policy theories, will all be considered within this context. Marketing

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  T.3.1.2 Theatre of the Absurd  (elective)  (elective)

This module focuses on a number of 1960s plays which writtenhave in English and French (the studied in translation) in the 1950s and been characte characterised rised by thelatter term “Theatre  of the Absurd.”  Beckett, Ionesco and Pinter receive the closest attention but related dramatists such as Genet, Adamov, Albee, Simpson and Stoppard are also considered. The work of all these dramatists is contextualised in terms of the cultural and historical conditions in which it was made. T.3.1.1 Shakespeare in Performance (elective) This module, taking Shakespeare as its subject, encourages students to think practically about how a play text on the page becomes a script for performance. It asks what effect the director’s   shaping of the text through cutting or re-ordering has on interpretation;

and how they trends theformed. stage history ofas the plays reflect the preoccupations society in which areinperformed. per As well looking at the perfo performance rmance historyof ofthe four plays, students are asked to undertake a practical exercise in preparing part of a text as if for performance. T.3.1.3 The Director’s Director’s Story   Story  (elective)  (elective) This module will investigate the work of four contemporary theatre directors exploring the different different wa ways ys in which they mak make e stories for the thea theatre. tre. Students will ex examine amine specific productions directed by Peter Brook, Simon McBurney, Roxanna Silbert and Dominic Dromgoole. Each unit will focus on different approaches to theatre making so that the student can develop a heightened understanding of each director’s  approach. This module will enable students to develop and enrich their understanding of the director’s craft, examine new directions in making theatre for our contemporary contexts.

This website stores data such as cookies to enable essential site functionality, well as marketing, Thisasmodule requires students to engage in practical research into the work of a local personalization, and analytics. You director and to to develop their ow own n unique collection of primary sources. It is an exciting may change your settings at any time “hands -on”settings.  approach to study which allows individuals to investigate theatre practice and or accept the default

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T.3.1.4 Theatre Criticism (elective)

This module is a practical practical and theore theoretical tical intro introduction duction to theat theatre re criticism. It discusses the role of the theatre critic in contemporary society and assesses the impact of theatre criticism on performance pr practices. actices. The unit also explores the techniques and approaches to analysing live performance from the particular perspectives and agendas of the arts critic. Each unit foc focuses uses on diffe different rent aspects of revi reviewing, ewing, which will enable studen students ts to develop practical skills in performance-critical writing and foster their own reviewing sstyle. tyle. The module a analyses nalyses genuine examples of theatr theatre e review reviewss from different sources, such as broadsheet newspapers, listing magazines and literary supplements. Along with these sources, students will examine interviews with contemporary critics, plus a select bibliography bibliography..

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  Entry requiremen requirements. ts.

The Distance Learning degree is open access and has no formal entry requirements. For this reason, many students who do not possess standard University entry qualifications apply ffor or this degree. However However,, places are limite limited d and every application is considered considered on its individual meri merits. ts. Applicants will be ask asked ed to submit a short account of a theatre production they have seen recently and attend an interview which will take take place by telephone. If you are subsequently off offered ered a place for the next academic year the Programme Director will contact you for an informal discussion about your aspirations and expectations and your choice of modules for the first year. Extra advice and guidance on study skills is available to all students whether they arrive directly from another educational institution or have not studied for many years. Study time.

Although the programme is designed to be flexible we suggest that on average you will need to allow eight hours per week per module, and that a module should take nine months to to complete. You You may st study udy more th than an one module at a time. All modules run simultaneously from September to May. How we teach.

After you enrol, you will be assigned to a personal tutor  who will guide and assist you throughout the course of your studies. In addition, for each module that you

This website stores you data such as allocated a module tutor who will focus solely on supporting you study, will be cookies to enable essential site through work contained in that module. Throughout your period of study, your functionality, as well asthe marketing, tutors on hand personalization, andare analytics. You to answer your academic queries, advise you on planning your may change your settings any time feedback on your assignments. Your tutors will contact you by work and toatprovide or accept the default settings.

email and phone at various points throughout the year and will always be there to help if you need them. The Programme Director  and Programme Administrator, Privacy Policy supported by the Distance Learning team, are also available to provide advice and guidance. The College also organises various study events, both on the campus and Marketing at other locations around the country, where you can receive face-toface-to-face face tuition and Personalization meet your fellow students. Analytics

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Curren Currentt module fees aresupport. included as an attachm attachment. Thesetofees cover study materials and tutorial Students areent. advised tak take e onlyboth as many modules as they can successfully complete complete in one year year.. By accepting a place on the programme you are committing to paying your fees for the academic year even if you subsequently decide to defer or withdraw withdraw..

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  Teaching materials.

The Induction Module and Programme Document, which you will receive after you enrol, provide a useful guide to the Theatre Studies programme, module choices, tutorial staff, administration, library access and study events. Included with the Induction Module are the bibliographies for all Level 1 modules. These will allow you to familiarise yourself with the course materials and begin to source the books you will need. In August each year you will be able to download your Module Materials via our VLE. We are currently developing this facility which w will ill allow increasing degrees of interactivity between between students and College regardless of where you are in the world. Library access.

The College's Learning Resources Centre (LRC) offers a range of services to Distance Learning students. The LRC is open to all Distance Learning students who live within travelling distance, for personal use and for borrowing. Photocopies of chapters from books or articles may be requested by email or over the phone. The LRC also provides information about useful web resources and students can access information by logging on to the college website. Of particular importance is the College's membership of the SCONUL Access scheme. This reciprocal arrange arrangement ment between colleges and universities in the UK allows our students access and borrowing rights at the library of their nearest participating Higher Education Institution. You will be expected to read widely during your studies and access to books and other resources will be very important. This website stores data such as E-Resources cookies to enable essential site functionality, as well as marketing, The College is developing its range of e-learning resources and the Theatre Studies has personalization, and analytics. You a your dedicated For Forum um where studen students ts can log in to chat or exchange ide ideas. as. Students are may change settings at any time or accept the default settings. expected to have have regular access to email and the world-wide web. We have have our own

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Theatre attachments.

As part of the Theatres at Work module (T.1.1) students are offered a unique opportunity to study a theatre which they are keen to learn more about. This is usually within easy reach of the student's home. It is not a placement, requiring students to visit every day, but required research can be achieved with a few focused trips. We arrange for all T1.1 students to be "attached" to a venue and/or company for the course of the academic year. As well as focusing closely on the productions offered offer ed - and devising a season of their own for Assignment 1 - studen students ts are invited to interview key members of staff within the organisation. We have built up a huge range of venues and companies (large and small) with whom we have a close working relationship but where such a project is not possible we can arrange alternatives. Recent destinations include: the Old Vic, the Donmar Warehouse, West Yorkshire Playhouse, Citz Glasgow, Nuffield Southampton, Manchester Royal Exchange, Sheffield Theatres Theatres and many inter international national venues, too. The opportunity to study tthe he day-to-day work of a theatre proves hugely rewarding and offers lasting insights which day-to-day only such close focus can achieve.

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Programme Director

Jayne Richards  

Jayne Richards trained at the Central School of Speech and Drama and studied both education and phonetics (IPA) (IPA) with the University of London. She completed her MA in Theatre and Performance Studies with the University of Manchester before moving on to PhD research into into performa performance nce practice at the Univer University sity of Middlesex. Her current research centres on exploring the concept of process in teaching and performance. Before joining Rose Bruford in 2000, she worked as a tutor and lecturer on Central's PGCE programme, as workshop leader and director of a young writers’   group for the Warehouse Theatre, and as an examiner in theatre practices. Jayne has worked extensively in teaching and teacher-training and has wide experience in directing and production management. In addition to her role as Programme Director for the BA (Hons) in Theatre Studies by Distance Learning, Jayne has contributed to a wide range of programmes across the College including the MA Distance Learning (Theatre Traditions and Contemporary Perspectives) and MA Theatre Theatre Practices (P (Postmodern ostmodern Perf Performance). ormance). Jayne is a fellow of the Higher Education Academy Academy.. Lecturer in Theatre Studies

David Matthews

David joined Rose Bruford as a Lecturer in Theatre Studies (Distance Learning) in 2008. He completed a BA in Drama and Theatre Studies at Goldsmiths College and an MPhil at Royal Holloway, which focused on the reception of polyphonic sound in verse performance. In 2007, he was awarded a Thomas Holloway Scholarship to continue his work on to PhD. His current research investigates the performance of poetry by the composing poet, drawing on performance history, acting theory and philosophy of

This website stores data as language andsuch on discussions discus sions of orality orality,, aurality and perception. cookies to enable essential site functionality, as well as marketing, David and is the College's personalization, analytics. You Manager responsible for launching the site in Summer 2010 and may change your settings at any time continues to train and support its users. He teaches on the ETA, ATA and PGCLTHE or acceptprogrammes the default settings. and is part of the team currently developing a suite of Open Educational

Resources. David has taught at Central School of Speech and Drama and Royal Holloway Privacy Policy and was awarded a post-graduate teaching certificate in 2004. He is a fellow of the Higher Education Academy Academy.. Marketing Personalization Analytics Save

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Dr Walt Walter er Anderson

Walter is the educational head of The and Conservatory Conservatory, , Baltimore Actors' students Theatre, which has a college preparatory division a college division where have successfully worked towards their Trinity/Guildhall graded qualifications and diploma qualifications. College level students students are also enrolled in the Rose B Bruford ruford C College ollege distance learning theatre st studies udies BA. Walte Walterr holds a bachelors degr degree ee in music, a Master of Drama Studies and a Master of Liberal Arts from the Johns Hopkins University, Baltimore; a Licentiate in Applied Drama and a Fellowship in Education Studies Musical Theatre Theatre from T Trinity rinity College, Londo London. n. Walter h has as served as musical director for for the Baltimor Baltimore e Actors' Theatre si since nce 1970. In that capacity he has been show accompanist and conductor; and he has composed numerous musical scores for the company's children’s  theatre which has won several awards for its artistic achievements. He has also composed the score ffor or an original adaptatio adaptation n of The Phantom of the Opera  which BAT toured Great Britain through the Apollo Leisure Group to its flagship theatre in Oxford, The Hippodrome in Bristol, and the Edinburgh Festival in 1990. This show also toured to Aus Australia tralia in 1991. Matthieu Bellon

Matthieu Bellon-Leloup is an actor, director and workshop leader. He is Module Coordinator on the BA (Hons) Directing Programme at Rose Bruford College and has taught acting and directing on various other programme at the College and in other London schools, as well as in Spain, Switzerland Switzerland and Poland. After completing a BA in History and Political Science at Sorbonne and Institut d’Etudes  Politiques de Paris, Matthieu a Diploma in Fine Arts at the Florence Academia in Italy before This website stores datawas suchawarded as Peter site Brook’s actor Zaddredhin Zahed for his first training in acting in Paris. In cookies to  joining enable essential functionality, as well asto marketing, addition working extensively as a professional actor in France, Spain, Poland and personalization, and analytics. You the UK, he also trained in Classical British Theatre at CDS Cygnet (patro (patron n Peter Brook), may change your settings at any time Lecoq School of Theatre in Paris and movement with Master Prapto in or accept the defaultInternational settings. Solo, Indonesia. Matth Matthieu ieu joined the a award ward winning winning Polish avan avant-gard t-garde e company Song of the Goat in 1992, devising and touring their productions and started his own Privacy Policy company Bred In The Bone Theatre in 2008, producing work as a director and actor actor.. Marketing

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David Chadderton  

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David is head of education for Mainstream Theatre Arts in Manchester and north west editor for British Theatre Guide. He presents a weekly radio programme, The Theatre Show , on Canalside Community Radio, also available as a podcast. He was one of the first ever students on the distance learning BA in theatre studies at Rose Bruford College and also has an MA in scriptwriting scriptwriting from University of Glamorgan. He has work worked ed in the field of theatre education for nearly two decades, and has written and directed many plays for young people to perform and for young audiences, including theatre-in-education. theatre-in-education. David has written two books on theatre, Practical Drama (2002 and 2006) and The Theatre Makers  (2008), and has written and spoken as a theatre writer, teacher and critic for a number of publications and programmes including City Life, Scriptwriter Magazine, Teaching Drama Magazine and BBC Radio 3’s  Night Waves. David is a full member of the Writers’  Guild of Great Britain and is on the selection panel for the Manchester Evening News Theatre Awards and has adjudicated for the 24:7 Theatre Festival.

Sally Pomme Clayton 

Sally Pomme Clayton is a writer and performance storyteller storyteller.. She founded The Company of  and Hugh Lupton spearheading the revival of storytelling in Storytellers with Ben Haggarty  and the UK. She tours internationally and recent performances have been in Greece and Spain, at the British Museum; the Barbican, and Edinburgh Book Festival. She performs with Middle Eastern band  Joglaresa,  and is currently working with  The London Philharmonic. She has worked with  Welsh National Opera, London Sinfonietta, and  SouthBank Gamelan

This website stores data such as Players. During 2005 - 06 she was consultant for the British Library Inside Story  project.  project. In cookies to enable essential site 2004 she wrote and performed Rama and Sita - Path of Flames  with a band of Indian functionality, as well as marketing, personalization, and analytics. YouUnicorn Children's Theatre.   Her latest book is: Persephone. A journey musicians for the may change your settings time  (Frances Lincoln 2009). She also writes for radio and theatre. Most  from winterattoany spring or accept the default settings.

recently she wrote and presented The Whole Brain  - tales told in Central Asia, for BBC Radio 3, 2006. She lectured on World oral traditions and creative writing at Middlesex Privacy Policy University from 1993 - 2007. Marketing Personalization Analytics Save

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2 2  

  Annie Castledine

Annie Castledine Castledine is a fr freelance eelance theatr theatre e and radio di director rector who is still w working. orking. She was Associate Artistic Director of Theatr Clywd from 1985 to 1987 and Artistic Director of Derby Playh Playhouse ouse from 1987 to 1990. This period at Derby Playho Playhouse use was formative and Derby Playhouse was nominated for the Prudential Award for the Arts by Michael Billington, David Hare and Melvyn Bragg for "the innovative nature of its programming and the world-class nature of the direction and performing". Immediately after this period Annie Castledine embarked upon a series of freelance productions in London and elsewhere, which earned her many prizes and awards. Some of the productions, such as India Song by Marguerite Duras at Theatr Clywd; Pioneers in Ingolstadt and Pergatory in Ingolstadt   by Marieluise Fleischer at the Gate Theatre; From The Mississippi Delta by Endesha Ida Mae Holland at the Young Vic;  And All The Children Cried   by Beatrix Campbell and Judith Jones at the West Yorkshire Playhouse; and Goliath by Bryony Lavery at The Bush Theatre and on tour tour.. Her theatre productions in 2010 included Heldenplatz - the last play of Thomas Bernhard - which was co-produced at the Arcola Theatre in London, and Secret by Caroline Hume. Annie also direct directed ed a new play by Gillian Plowman Gracey and Me which was broadcast broadcast on Radio 4 and an a adaptati daptation on of Gilead  the   the novel by Marilyn Robinson for for Radio 3. Annie Castledine will continue her expe experimental rimental w work ork with her Brighton team of professional collaborators throughout 2011. She hopes to direct the third play by Gillian Plowman in the South African Trilogy in the Autumn of 2011 and the sequel s equel to Gilead, an adaptation of Home in 2012.

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Dr Rachel Clements 

Rachel studied for her BA at the University of Oxford and her MA at UCL, and completed a PhD at Royal Holloway Holloway.. Her AHRC-f AHRC-funded unded tthesis, hesis, ‘Hauntology and Contemporary British Political Theatre (1995-2010 ), ),’’ looked at the work of a range of playwrights and practitioners and analyses developments and trends in recent political theatre. theatre. She is particularly intereste interested d in theatre’s spectrality, in documentary practices, and in the works of playwrights such as Sarah Kane, Martin Crimp, Caryl Churchill and Howard Barker Barker.. Rachel has presented papers at numerous conferences, and is currently working on the introduction for a student edition of Joe Penhall’s  Blue/Orange. During her doctor doctoral al studies, she co-edited Pla Platform, tform, a postgr postgraduate aduate eJournal. She has taught a range of modules on the BA in Drama at Royal Holloway, works as the Study Support tutor at Rose Bruford, and has been a member of the Executive Committee of TaPRA (Theatre and Performance Research Association) since 2007.

Dr. Harry Derbyshire Harry’s  PhD is from King’s  College, London for a thesis examining the reception of Harold Pinter’s later plays. He is a Lecturer in English and Drama at the University of Greenwich, where he is also Programme Leader for English. He has been a contributor to the Rose Bruford Theatre Studies degree since 2001, teaching across a range of modules; he has supervised research projects on J.M. Synge, Sarah Kane, Harold Pinter and recently on C.P. Taylor. He is company writer for Sob Theatre Company and his published work includes a revised version of his chapter on ‘Pinter as Celebrity’ in the forthcoming second edition of The Cambridge Companion to Harold Pinter (2009); ‘Performing  Injustice: Human Rights and Verbatim Theatre’ (with Dr Loveday Hodson) in Law and Humanities vol. 2, no. 2 (December 2008); and ‘The  Culture of New Writing’ in the back pages of Contemporary Theatre Review vol. 18, no. 1 (February

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24  

  Colin Ellwood  

Colin Ellwood is Programme Director of the Theatre Directing B.A. (Hons) at Rose Bruford College where he also teaches on the Acting, Theatre Design, Lighting Design and European Theatre Arts prog programmes. rammes.

After studying English Li Literatu terature re at Glasgow

University, Colin became Artistic Director of Opening Acts, a Scottish Arts Council funded theatre-in-education theatre-in -education compa company ny touring touring through throughout out Scotland. This was follow followed ed by fou fourr years as an Assistant Director at the RSC, working with, for example, Adrian Noble, David Thacker, Michael Bogdanov, Sam Mendes, John Caird, Kenneth Branagh and Steven Pimlott. As Director of the RSC F Festival, estival, Coli Colin n directe directed d Beckett’s  Waiting for Godot with Linda Bassett, Finbar Lynch, Lynch, Denys Hawthorn and Jonat Jonathan han Cullen. Other RSC productions include Hamlet  for  for a TIE tour and the premiere in the Barbican Pit of Peter Whelan’s stage version of Disraeli’s novel Sybil . As Artistic Director of Strangers’ Gallery he directed the UK premiere of Lope De Vega’s  Jewess Jewess of Toledo at the Bridewell and the world premiere of the newly discovered original version of Rattigan’s  Separate Tables at the King’s  Head with Barbara Jefford, Lucy Whybrow Whybrow,, Mark Eden and Diane Hardcastle. Freelance work has ranged from new plays at the Traverse Edinburgh to a devised piece using the writings of the Fourteenth Century mystic Julian of Norwich with The Dufay Collective in Norwich Cathedral. He has also taught and directed at most of the major UK drama schools, including Guildhall, Guildhall, W Webber ebber Do Douglas, uglas, Centr Central al and ALRA, and

has given a range of

workshops and talks at universities (Oxford, Tours, Newcastle, Reading, Warwick etc) and at the London Theatre Museum and Actors’  Centre. Centre. Research iinterests nterests include work on

This website stores data such as the ‘primary creativity of the performer’  and related projects have included an ongoing cookies to enable essential site functionality, as well as marketing, exploration of dreams/primary consciousness/pre-gendered impulses in performance of personalization, and analytics. You may change your settings at any time which several accounts have been published. or accept the default settings.

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Dr. Stephe Harrop

Stephe Harrop completed her practice-based PhD, exploring the physical performance of Greek choruses, in 2007 (Royal Holloway, University of London). The performance reception of ancient tragedy is one of her major research interests, with recent publications including ‘Poetic  Language and Corporeality in Translations of Greek Tragedy’  (co-authored with David Wiles, 2008), and Theorising Performance: Greek Drama, Cultural History and Critical Practice   (co-edited with Edith Hall,

Duckworth, 2010). She is also a post-doctoral associate of the Archive of Performances of Greek and Roman Drama (University of Oxford). As well as her tutoring at Rose Bruford College, Stephe teaches Greek drama and theatre history at Goldsmiths College (University of London) and Millikin University (Decatur, Illinois). Her other main research interest is contemporary performance storytelling, and since 2008 (following an apprenticeship with Vayu Naidu Company) she has worked as a professional storyteller, a practice which increasingly informs her scholarly research agenda. Polly Irvin 

Polly trained at the Central School of Speech and Drama. She worked extensively as an actress for seven years years before before turning tto o directing. In 1992 she formed tthe he multi racial theatre company Wild Iris and directed her debut production of  A Doll’s Doll’s House  House  at the DOC in Kentish T Town. own. The show was subsequen subsequently tly invite invited d to rep represent resent Brit Britain ain at the 1993 International Ibsen Festival at The Nationaltheatret in Oslo and returned to London for a second sell out run and nominated for several awards. Polly’s second production was Love At A Loss by female wit Catharine Trotter at BAC; this won her a Subsequentt pr productions oductions w with ith Wild Iris wer were e The Baby by Chris Time Out Award. Subsequen This website stores data Hannan at such The as Bush, Death Catches the Hunter  by   by Biyi Bandele BAC/National Tour,  A cookies to enable essential site Farmers  by Ged McKenna at the Stephen Joseph in Scarborough and The Basset functionality, as well asBride marketing, personalization, You Centlivre Bristol Old Vic and The Tricycle. As a free lance director  byanalytics. Susannah Tableand may change your settings at any time Polly hassettings. directed  As You Like It  at   at Bristol Old Vic which Jude Kelly transferred to the or accept the default

West Yorkshire Playhouse, and Hansel and Gretel in the main house, Lyric Privacy Policy Hammersmith.

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From 2003- 2007, Polly was the Programme Director for BA (Hons) in

at Rose Bruford College and published her first book Directing For The Stage 

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in 2001.

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Polly has just completed an MA in In Integrati tegrative ve Arts

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26  

Julian Jones  

Julian trained at RADA from 1984-1986 and has worked as an actor in Theatre, Television and Film for the past twenty-five years. Acting credits include Slim in Of Mice and Men (Birmingham Rep; The Savoy and The Old Vic), Dan in Closer (Manchester Library Theatre), Caliban in The Tempest (The RNT) Dray In The Trestle at Pope Lick Creek (Manchester Royal Exchange), Jimmy Porter in Look Back In Anger  (Lancaster   (Lancaster Dukes Theatre), Valmont in Les Liasons Dangereuses  (Cheltenham Everyman Theatre) and Chris Keller in  All My Sons (Chester Gateway Gateway Theatre). He is a Senior Lecturer in Acting at Rose Bruford College where he both teaches and directs. His work with first year actors is focussed on the teachings of Stanislavski and Meisner. With second year actors he works on Elizabethan and Jacobean drama. He also teaches Dramaturgy and is Contextual Study co-ordinator across all three years of the Acting and Actor Musician Programmes at Rose Bruford. For several years he taught Acting for Camera at Webber Douglas Drama School and, along with a colleague from Rose Bruford, delivers an annual workshop on Brecht for the MA Directing course at Birkbeck College.

Julian is Artistic Director of his own theatre company: Burning Oak. Plays he has directed include Shakespeare’s  Julius Julius Caesar , Macbeth and The Winter’s Winter’s Tale  Tale; Chekhov’s The Seagull   and Three Sisters; and Simon Stephens’  Punk Rock   and Herons.  He is currently working with The Royal Shakespeare Company delivering acting workshops as part of their Open Stages initiative. He is also in the process of devising exercises through a series of workshops on Brecht for Stephen Unwin Artistic Director of The Rose Theatre in Kingston and author of  A interest est iin n G Greek reek This website stores data such as Guide To The Plays Of Bertolt Brecht . His particular inter cookies to enable essential site to a BA in History and Archaeology, a Masters in Classical Studies and a Theatre has led functionality, as well as marketing, diploma from the personalization, and analytics. YouEpidauros Summer School run by the University of Athens. He is about to take new play  to the Pleasance Theatre in Edinburgh for the festival with may change yourasettings at anyBody time of Water  to or accept the default settings. Made From Scratch Theatre Company. Julian is a Fellow of The Higher Education Academy Academy.. 

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2 7  

 Dr. Arya Madhaven  Arya completed her PhD from the Department of Theatre, Film and Television Studies, University of Aberystwyth in 2008 and her thesis focused on enquiring the actor’s  consciousness and how actor training systematically facilitates facilitates the transformation of his consciousness into higher levels in performance. Kudiyattam, which is the oldest existing theatre form from India, was taken as a model in this enquiry. In her thesis she particularly analysed the performance principles of Kudiyattam and its implications on the actor’s  consciousness,  how particularly the actor training techniques of a performance influences the creation of a higher level of consciousness in both performerss and audience. These are the major research areas that Arya will be focusing performer on in future:  a. Kudiyattam theatre with a particular focus on Pakarnnattam (multiple transformational acting), space and time in Kudiyattam, performance principles, actortraining, text and the actor and gender and the performer, b. Indian theories of aesthetics, philosophy and praxis, c. Actor-training  –  both Eastern and Western, d. Performance studies/theory, e. Actor and the voice, f. Indian dance  –  theory and practice, g. Intercultural theatre. theatre. Arya is currently working as a Lecturer in Drama at the University of Lincoln. Rebecca Pollock

Rebecca Pollock graduated from the BA (Hons) American Theatre Arts programme at Rose Bruford College and gained her MA M A in English and American Literature from Kent University. In 2004, she co - founded Shady Dolls Theatre Company who have produced a great variety of shows in London, Edinburgh and most recently at the Cuenca Theatre Theatre Festival in Spain. Spain. Alongside her work with the ccompany ompany,, Rebecca teaches onsuch the as American Theatre Arts Degree and the Part Time Theatre Arts Course This website stores data cookies to enable essential site and is module co-or at Rose Bruford Bruford co-ordinator dinator on the Drama and Theat Theatre re Studies functionality, as well as marketing, Degree at Bath Spa University University.. personalization, and analytics. You may change your settings at any time or accept the default settings.

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28  

 

Sophie Powell 

Sophie completed a BA (Hons) in Drama and French French at Bristol. She trained in ph physical ysical theatre and clown with Philippe Gaulier and in puppetry at The Little Angel Puppet Theatre. Her work combines pro professional fessional experience as a perfo performer rmer with teaching ffor or a variety of institutions including Cen Central tral School of S Speech peech and Dr Drama ama and Rose Bruford. Brufor d. Her teaching work aims to ccombine ombine pra practical ctical and theo theoretical retical appr approaches. oaches. As a performer, her personal practice has focused on devised physical performance, mask, clown and puppetry. Performance credits include Long Nose Puppets (The Hawth Crawley and Tate Britain) The Stephen Whinnery Company (I.C.A, Purcell Rooms, Northern Stage, Chisendale Dance Space, B.A.C, Nightingale Theatre), Face Pack Theatre (regional tour), Proteus Theatre Company (regional tour) Polka Theatre, Improbable theatre; and David Furnham Productions. Professor Aleks Sierz (Visiting Lecturer) 

Aleks Sierz is Visiting Research Fellow at Rose Bruford College, and author of the bestselling account of 1990s new writing, In-Yer-Face Theatre: British Drama Today   (Faber, 2001), as well as of The Theatre of Martin Crimp (Methuen Drama, 2006) and  John Osborne’s Osborne’s   Look Back in Anger   (Continuum, 2008). He is an authority on

contemporary British theatre, and co-editor of the Continuum Modern Theatre Guides  and of the theatreVOICE website. He works as a journalist, broadcas broadcaster ter,, lecturer and theatre critic ataslarge. This website stores data such cookies to enable essential site functionality, as well as marketing, personalization, and analytics. You may change your settings at any time or accept the default settings. Privacy Policy Marketing Personalization Analytics Save

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29  

 

Professor Michael Walling 

Michael is the Artistic Director of Border Crossings, which he founded in 1995  –  www.bordercrossings.org.uk . He has directed most of the company's work to date, including Re-Orientations  (a major EU-funded project with artists from five countries, including China, where the piece was also performed), The Dilemma of a Ghost (coproduced with the National Theatre of Ghana), Dis-Orientations   (co-produced with Shanghai Yue Opera) and Bullie's House (co-prod (co-produced uced with Jiriki Management, Australia). He studied History at Oxford University. As a freelance director, he has worked all over the world, winning awards for Two Gentlemen of Verona in the US and Paul & Virginie in Mauritius. More recent productions include  A Midsummer Night's Dream (Lake Tahoe Shakespeare Festival). Michael directed the ENO's acclaimed workshop productions of Wagner's Ring at the Coliseum and Barbican. He was Associate Director to Peter Sellars on Nixon in China, and to Phyllida Lloyd on The Handmaid's Tale (Canada). Alongside his work as a director, Michael teaches regularly at Rose Bruford College and Central School of Speech and Drama. He has published many book bookss and articles on intercultur intercultural al theatre and related topics, including editing Theatre and Slavery (Border Crossings 2007) and The Orientations Trilogy - Theatre and Gender: Asia and the West (Border Crossings 2010). www.originsfestival.com). ). Michael is also the director of Origins: Festival of First Nations ((www.originsfestival.com 

 



 

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Mary Lynch

Programme Administ Administrator: rator: Theatre Studies RBC Programme Administration Manager

Mary has worked across both the public and private sectors including: the Microbiology Unit at Lewisham Hospital, a global lift company, a firm of property developers and a higher education college in Clapham where she was Enrolment Manager for five years. Aiming to extend her career in management in higher education, she joined Rose Bruford College in 2008 as Programme Administrator for Theatre Studies. Mary is also the College’s  Administrations Manager, with responsibilities for coordinating the administration teams for full and part-time programmes. Her interests include theatre, cinema and keeping fit.

Lisa Knightsbridge

Programme Programme Administra Administrator: tor: Materials and Copyright 

Lisa is Programme Administration responsible for the management, updating and delivery of course materials. materials. She holds a BSc (Hons) in Biological Studies which, like like many of our Distance Learning Learning students, she stu studied died for part part-time. -time. Over a number of years, Lisa has worked for a variety of organisations including corporate, charitable and higher educa education tion institutio institutions. ns. Her firs firstt introd introduction uction to Dist Distance ance This website stores data such Learning wasasas a designer designer of computer-base computer-based d training for a major UK bank. These cookies to enable essential site courses were delivered via PCs in branches and offices throughout the UK. Lisa functionality, as well as marketing, enjoys theatre and opera and is an amateur genealogist and understands the joy of personalization, and analytics. You may change your settingsthe at any time stimulated and gaining a deeper knowledge of a subject that keeping mind or accept the default settings. interests you. Privacy Policy Marketing Personalization Analytics Save

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  Administrations Manager/ Programme Administrator Mary Lynch

Tel. 0208 308 2660 [email protected]  [email protected] 

College Libraria Librarian n

Frank Trew

Tel 0208 308 2635 [email protected]  

Registrar

Sue Widdows

Tel 0208 308 2612 [email protected]   [email protected]

Finance

Olivia Wong

Tel 0208 308 2603 [email protected]  [email protected] 

Student Adviser

Joanne Davies

Tel. 0208 308 2638  [email protected] ord.ac.uk    joanne.davies@bruf

Disability Adviser

Ros Platton

Tel 0208 308 2610 [email protected]  [email protected] 

Learning Support

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Simon Hopper

[email protected]  [email protected] 

3 2  

  Cal Campbell 

I am passionate about theatre, whether it is acting, directing, watching or just being in a theatre space. I had (and still have) dreams that taking a theatre course would allow me to make theatre an even bigger part of my life. I had been looking for a long time to find a distance learning course that would allow me to continue my day job and study at the same time... but with no success. A like-min like-minded ded friend spotted R Rose ose Bruford’s  Theatre Studies course and having researched the details we both applied. Even though I thought I had researched the course I have found that it is better than it ever looked on paper. The modules and the units are interesting and challenging, well laid out and easy to follow.. They are back follow backed ed up by a friendly and sup supportive portive team of tutor tutorss to help you through any any tough moments. The tutors are quick to respon respond d and their goal seems to be to get the best out of you and, importantly, in a friendly mann manner er.. Regular contact through e-mails and even phone calls make you feel looked after. The attitude is certainly positive, helpful and encouraging. This is a real degree course and the assignments are, like the rest of the course, challenging but well well directed. The tutor ma marking rking is retur returned ned to you with a clear explanation of where the marks came from and more importantly suggestions on how to improve or to help consolidate. Everythi Everything ng is geared ffor or support, ssuccess uccess and improvement. The study days or weekends are an extra bonus not only for the variety of course and theatre related activities but for also allowing you to meet face to face with other students and tu tutors. tors. These hav have e increased my ‘support  network’  (along with the email list you can put yourself on so that you can contact other students) for the tough This website storesand data such times haveasalso intr have introduced oduced me to so man many y wonderful theatre-lovi theatre-loving ng people. I cookies to enable essential site make every effort to attend these.

functionality, as well as marketing, personalization, and You What is analytics. special about this course is that Rose Bruford sets a high value on its distance may change your settings at any time learning students students and openly stat states es this. Whateve Whateverr it is they do they crea create te a bond or accept the default settings.

and I really feel part of Rose Bruf Bruford. ord. Distance student? No, just ‘student’ 

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David Mallett 

Through my years in the Royal Navy, and later within industry and as a management consultant, I have always been in some way connected to theatre  – whether as an avid theatre goer, performer or director. After my retirement I took the chance to add an intellectual base to that experience by signing on with Rose Bruford. At the age of seventy,, studying for a BA was not exactly a means of forwarding my career but - being seventy still involved with theatre as a hobby and in the habit of directing one major show a year in a professional space - the course looked likely to be a terrific stimulus to re-visit what I thought I already knew and a means of greatly adding to that knowledge. And that is exactly what has happened. The skills and knowledge I already possessed have been immensely honed and enhanced but, more importantly, I have been able to learn so much more. My first year attachment at the Old Vic as part of the Theatres at Work module was, of course, a privilege, but one immensely enhanced by the content of the three other modules I have since completed or am in the process of completing. Certainly there has been lots of theory, but I have been surprised both at how intellectually stimulating it has been and with its practical value. I have joyfully studied plays in depth - analysing their structure in text and their potential meaning in performance. I have even been taught to appreciate and enjoy opera. My knowledge base and enthusiasm grow with every assignment - in eighteen months I know so much more than I thought possible and have barely started on the journey! Distance Learning is not the easiest path to take but it suited me and is the only possible way for some. It's the support that counts and I have found communications with tutors and administrators administrators to be very easy easy.. In fact, they are constantly e-mailing me to ensure I'm happy with how things are going. I have met them all during study days atstores the college they're even more supportive face-to-face! This website data such- as There still remains a few years to go but I'm determined cookies to enable essential site functionality, as well as marketing, can. Wouldn't have missed the experience for anything. personalization, and analytics. You may change your settings at any time or accept the default settings. Privacy Policy Marketing Personalization Analytics Save

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to make that BA (Hons) if I

34  

Joan Workman 

Taking a degree was a long-held ambition, especially after seeing my children through university.. Now I am enjoying a ffascinating, university ascinating, inspiri inspiring ng course in a subject I love. As well as widening my knowledge it has enriched my theatre-going  –  and my life! If you are feeling hesitant, here's my prediction: you will find fun, friendship and the support and expertise of dedicated staff staff.. I don't want it to end! Jolyon Kay 

I joined the course in its very early days. We were living in Cyprus, and I needed some intellectual exercise to keep up with my wife, an archaeologist who is here surrounded by her chosen subject. I chose theatre, which as an amateur actor /director has interested me all my life by a short head over political science, which would have taught me what (as a British diplomat) I had been doing most of my working life. I was lucky to have a marvellous theatre, the Watermill, near our English home, to study early on. I tried to do two modules a year to start with, but quickly decided that one was enough. There always, even in retirement, seemed to be too many other things going on! I struggled with Michael Walling over The Social Stage - he is a great, and even inspirational teacher if you have the good fortune to meet him, and I really enjoyed disagreeing with him, as indeed I did with most of my tutors. The high spots were the annual weekends where we met fellow students and spent hours on after-show discussions late into the night. There were really good lectures to keep us alert. And I made some s ome really good and lasting friendships. …  Three This website stores students data such asliving here in Cyprus have just joined the course, so it will be great having someone others on the course to cookies to enable essential site to talk to and moan at. It's well worth finding others functionality, as together well as marketing, get with, to go to a theatre together together,, but it's probably easier in England. personalization, and analytics. You may change your settings at any time or accept the default settings. Privacy Policy Marketing Personalization Analytics Save

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35  

Doreen Dove 

The course has allowed me to explore my curiosities, without sacrificing my commitments at home. At a young age I left University prematurely and now I have a full time job. I wanted tto o pick up where I left of offf with the studies and this this course has allowed me to do that without sacrificing the progress I have since made in my career career.. This long distance course challenges me intellectually at the same time as meeting my practical needs. The modules and units help you stay focused and on track. The units provide the freedom for you to come away from them and carry out your own research if you stumble across a particular area of interest. The units provide solid preparation for the assignments. The modules are well varied and take you through your learning at a steady pace. Tutors are extremely acce accessible ssible and always helpful and friendly. Staff at Rose Bruford have supported me at particularly busy times when my home life has provided massive distractions from my studies. Their support has kept me motivated and interested in the course! The passion that the staff and tutors have are infectiouseven if you don't always agree with what they are saying, they are open to a great discussion. Tutor feedback has always been extensive and detailed, and very personalised- this level of feedback has been vital in my learning. Great value for money! This website stores data such as cookies to enable essential site functionality, as well as marketing, personalization, and analytics. You may change your settings at any time or accept the default settings.

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Nicola Dent  I was looking for a course I could do for my own enjoyment but it had to be something Distance Learning so I could fit studying around working full time. I have always been interested in the theatre and have been involved for a number of years in a local amateur theatre company company so enrolling on a course that allowed me to learn more about how it all works seemed ideal. I looked around ffor or a while but Rose Brufor Bruford d was the only college that offered a subject like Theatre Studies as a Distance Learning option as well as the chance to work towards a degree qualification. The course itself offers a wide range of interesting modules which you study through a mixture of your own reading and research, exercises, responses from tutors and information provided by the tutors. You have to really engage with the material and be prepared to read around a subject to get the most out of it but if you do that it really is worth it and opens your eyes to the world of theatre in a way you don't get just by watching plays. Heather Leech

The tutors are always there to support students and you should never be afraid to ask for help or to say if you you are struggling. Rose Bruford Bruford College works hard to cr create eate a supportive learning environment for students studying a subject through Distance Learning and I don't think there there is another college like it in the country country.. My experience This website suchand as what it has done for me already is incredible and I'm only in my ofstores the data course cookies to second enable essential site I gave gained so much in terms of learning about the year! functionality, as well as marketing, theatre, my enthusiasm and interest has turned into an in depth study at a higher level personalization, and analytics. You may change your settings at any time than I have done before. before. Being led throug through h the structured courses which are so clearly or accept the default settings.

put together is a delight. This has definitely improved my own teaching too. In addition, Privacy Policy

even though my school cannot help financially, my Head has been impressed

with my self motivation and and this has led to a promotion. The RBC staf staff/tutor f/tutorss are very

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friendly, helpful and supportive and the study days are just the best! There are no

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Q: Who do I cont contact act if I have further questions? 

If you have further questions concerning the programme and would like to discuss these before applying, please contact Jayne Richards, the Programme Director Director,, on +44  [email protected]   (0) 208 308 2659 or at  at [email protected] Q: Am I e eligible ligible for credit e exemption? xemption? 

Students with prior certificated or experiential learning in related areas may be eligible for credit exemptio exemption. n. Please see the forms sent with this e-brochur e-brochure. e. To discuss whether you could be entitled to put in a claim, please contact the Programme Director who will advise you.

Q: How do I apply? To enrol you must complete the application form enclosed with this pack and send it to the College. On receipt of you yourr application, the Programme Administra Administrator tor will contact you for an informal chat and to arrange a time for your interview which will can undertaken undertaken over the telephone. If you are off offered ered a place you will be cont contacted acted to discuss your choice of module(s) for your first year of study. Q: When will I receive access to m my y Study Ma Materials? terials? 

On successful offer of a place, you will be sent a link to your Induction Module and Preparatory Prepara tory Units to allows you tto o begin work str straight aight awa away y. Applying early means This website stores data such as you have additional time to organise your studies in readiness for the start of the new academic academi c year year. . Y our links to Module materials is dispatched in August . Places will be cookies to enable essential site functionality, as well as marketing, allocated prior to this date. Students joining the programme late may be advised to personalization, and analytics. You take fewer modules. may change your settings at any time or accept the default settings.

Q: How do I pay my fees?  Privacy Policy

Fees are payable by cheque, standing order or credit card so it is possible to spread Marketing the cost. Please see the additional information sent this brochure regarding fees and payments. If you hav have e any questio questions ns concerning methods of payme payment nt please contact Personalization Olivia Wong (Finance Department) on +44 (0) 208 308 2606 or at Analytics

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  Q: Am I eligible for funding? 

Some applicants will be eligible to apply for Government funding  – please contact your Local Education Authority and ask about funding for part time higher education courses. Q: Do I hav have e to attend classes or events at the College? 

There are no obligatory events but there is an Induction Day for all new Theatre Studies students in the autumn each year and a Study Weekend Weekend in the spring. You will also be able to attend the College’s annual Symposium, special guest lectures, master classes and performances, performances, details of which will be sent tto o you. These events pr provide ovide an ideal opportunity for you to make contact with your fellow students, meet tutors and staff, and to see the College .

For further information please contact: 

Mary Lynch Programme Administrator: Theatre Studies,

This website stores data such as cookies to enable essential site functionality, as well as marketing, personalization, and analytics. You may change your settings at any time or accept the default settings.

Rose Bruford College, Lamorbey Park, Burnt Oak Lane, Sidcup, Kent, DA15 9DF Tel: +44 (0) 20 8308 2660 Fax: +44 (0) 20 8308 2628 Or E-mail: [email protected] [email protected] www.bruford.ac.uk   Website: www.bruford.ac.uk

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The information in this pack is correct correct as at October 2011

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Rose Bruford College is a registered Charity Number 307907 and exists to provide training in theatre and related arts