community and applied dance theatre

Transcription

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WELCOME TO THE BIRMINGHAM SCHOOL OF ACTING
(BSA) PROSPECTUS
This is an exciting, contemporary place to train, not only for the
theatre, film and television, but also for associated disciplines such as
community and applied theatre and dance theatre. Our state-of-theart studios are second to none, and the school buzzes with creativity.
As well as the advantages of being a student at a major university, we
can offer you individual care and attention and all the other benefits of
studying at a specialist vocational drama school.
The school is a founder member of the Conference of Drama
Schools (CDS), and its two acting courses are accredited by the
National Council for Drama Training (NCDT). This means you can be
assured of the quality of our training and its approval by the industry.
Birmingham City University is a Skillset Media Academy – the only
such academy in the Midlands – which means it is recognised as one
of the country’s top providers of training for media.
We have strong links with the entertainment industry, with which
we have developed courses and created student placements. As
one of our students you may also be invited to participate in the
New Generation Arts Festival, a summer festival which provides a
showcase for all of our graduate talent.
If you want to see more of what we have to offer, please get in touch or
come to one of our Open Days.
STEPHEN SIMMS
DIRECTOR, BSA
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Discover Us
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Discover professional accreditation
Discover excellent facilities
Both our acting courses are accredited by the NCDT
(National Council for Drama Training). A course
accredited by the NCDT will stand you in good stead
professionally, physically and mentally and because
these courses attract the best candidates, they are also
highly competitive. As a result, they are well respected
within the industry.
Birmingham School of Acting moved into its new, bespoke
home in 2007. All the facilities were created with the
school’s needs in mind. There are purpose built rehearsal
studios, with sprung floors, state of the art changeable
acoustics sound equipment and mirrored walls, and a
performance space with stage, sound and lighting rigging
and a dance floor. For our students there is a common
room (with drink and snack vending machines) a resource
room with IT equipment, plus showers, changing facilities
and lockers and a secure reception entrance. The school
is housed within the city’s Millennium Point complex
which holds cafes, restaurant and a bar, a cash machine,
the IMAX cinema, the Think Tank Science Museum, a
library (within another faculty of the university which BSA
students can access), and more.
Discover links with the performance industry
Our BA (Hons) Community and Applied Theatre / Dance
Theatre course is partnered with Birmingham Repertory
Theatre, one of the UK’s leading producing theatres.
Students will be able to engage with The REP’s facilities,
productions and extensive learning and participation
programmes. We also have strong links with agents,
production companies, Theatre in Education organisations
and TV producers like the BBC.
Discover professional development
A great emphasis is based on preparing our students
for working as a professional within the performance
industry. Our intensive, production based teaching means
you will work in a number of different professional
theatres and take part in our theatre in education season
touring regional schools. In your final year actors will
take part in live showcase events in both Birmingham
and London where agents are invited to see your
performance. We also employ professional directors to
create a DVD of scenes from plays/films performed by
our final year students which are sent to agents
throughout the UK. All BSA students have meetings
arranged with London agents.
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Excellence in the Arts
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Birmingham City University has an enviable and growing
reputation for excellence in both the traditional and
digital arts. From music to media, and film to fashion,
our students regularly win awards and gain national
recognition for their achievements. You’ll see them on
television and on the stage, hear them performing in
concert halls, jazz clubs and on CD, and see their works
in art galleries and on the high street.
Birmingham Institute of Art and Design (BIAD) is one of
the country’s leading centres for art and design. Its recent
success is reflected by its strong performance in the
Independent Complete University Guide league for 2009,
which saw its Art and Design provision leap 21 places up
the table.
Birmingham School of Acting’s provision is professionally
accredited by the National Council for Drama Training and
the School occupies exceptional bespoke facilities for the
training of actors, including 11 studios with sprung floors,
acoustic panelling and air displacement systems. The
School enjoys an excellent relationship with the industry locally, regionally and nationally.
Birmingham Conservatoire is an internationally
recognised centre for teaching, research and the
performance and composition of music. It has some of the
finest performing and teaching facilities in the country,
including the renowned 520-seat Adrian Boult Hall, 150seat Recital Hall uniquely equipped for performance with
technology, six recording studios and a specialised and
extensive music library.
Birmingham School of Media is one of only two schools in
the Midlands with Skillset Media Academy status. Skillset
is the industry body which supports skills and training to
ensure the UK’s creative media industries maintain their
world class position, and centres must undergo rigorous
evaluation to achieve academy status.
The School of English enjoys a strong research profile
with five professors and two readers, a number of staff
with internationally recognised work to their names, and
a world-renowned research unit for English language
studies. Notably, the School collaborates with the
National Academy of Writing to offer a prestigious course
that enables developing writers to learn from leading
professionals.
Whether providing a platform for emerging professionals
through our New Generation Arts showcase, or
encouraging the next generation of talent through our
Junior Conservatoire, acting summer schools and preUniversity art and design courses, the University remains
a key player in the West Midlands arts scene.
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SECTION 1
8 TEACHING AND LEARNING
ABOUT BIRMINGHAM CITY UNIVERSITY
OUR STAFF
THE LEARNING ENVIRONMENT
SECTION 2
18 GRADUATE DESTINATIONS
GRADUATE PROFILES
ALUMNI
SECTION 3
24 BIRMINGHAM AND THE ARTS
BIRMINGHAM
THE ARTS SCENE
SECTION 4
28 STUDENT LIFE
THE STUDENTS’ UNION
STUDENT SOCIETY AT BSA
ACCOMMODATION
SECTION 5
32 APPLYING TO BSA
HOW TO APPLY
OFFER OF A PLACE
OPEN DAYS
FEES AND FUNDING
DISABILITY/ EQUAL OPPORTUNITIES
SECTION 6
38 ADVICE FOR INTERNATIONAL STUDENTS
QUALIFICATIONS AND ENGLISH LANGUAGE REQUIREMENTS
AUDITIONS AND INTERVIEWS
INTERNATIONAL APPLICATIONS
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SECTION 7
44 UNDERGRADUATE COURSES
BA (Hons) ACTING
BA (Hons) COMMUNITY AND APPLIED THEATRE
BA (Hons) COMMUNITY AND APPLIED DANCE THEATRE
BA (Hons) STAGE MANAGEMENT
SECTION 8
56 POSTGRADUATE COURSES
PgDip / PHYSICAL THEATRE
PgDip / MA ACTING
PgDip / MA PROFESSIONAL VOICE PRACTICE
MA ACTING: THE BRITISH TRADITION
SECTION 9
68 APPLICANTS’ GUIDE: AUDITIONS AND INTERVIEW
ACTING PHYSICAL THEATRE PROFESSIONAL VOICE PRACTICE ACTING: THE BRITISH TRADITION
COMMUNITY AND APPLIED THEATRE,
COMMUNITY AND APPLIED DANCE THEATRE
AND STAGE MANAGEMENT
SECTION 10
82 FREQUENTLY ASKED QUESTIONS
AUDITIONS DRAMA SCHOOLS AND TRAINING
90 HOW TO FIND US
92 ACKNOWLEDGEMENTS
93 DISCLAIMER
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TEACHING AND LEARNING
SECTION 1
BSA is a leading vocational drama school offering full-time
higher education courses funded by the Higher Education
Funding Council for England (HEFCE). It is a small
specialist institution with 180 full-time students on four
undergraduate courses and a staff of more than 50 working
professionals. BSA is part of the Faculty of Performance,
Media and English at Birmingham City University.
Since merging with the University, the school has retained
its identity as a specialist drama and performance provider
and developed its portfolio of courses. It now offers the
following undergraduate and postgraduate courses:
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BA (Hons) Acting (NCDT accredited)
BA (Hons) Community and Applied Theatre
BA (Hons) Community and Applied Dance Theatre
BA (Hons) Stage Management
PgDip Physical Theatre
PgDip/MA Acting (NCDT accredited)
PgDip/MA Professional Voice Practice
MA Acting: The British Tradition
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The school also provides part-time classes and summer
schools for adults, children and young people.
BSA is located in the centre of Birmingham, a vibrant and
culturally diverse city which is recognised internationally
as a centre for the arts, entertainment and business.
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ABOUT BIRMINGHAM CITY UNIVERSITY
Birmingham City University is a vibrant, multicultural
university with around 23,000 students and more than
2,000 staff. Our six faculties are spread across eight
city campuses.
We have a long history of learning provision in Birmingham
dating back to 1843. After gaining university status in 1992
we were known as the University of Central England until
changing to our current name in 2007.
Our reputation for practical, professionally relevant
courses and excellent teaching is making us a first
choice for students. According to UCAS figures, last year
Birmingham City University saw the biggest rise in student
applications of any UK university.
Our research work is attracting attention too, having been
classed as ‘world-leading’ in the independent Research
Assessment Exercise (RAE) 2008.
We have built strong partnerships with industry and the
professions to ensure that every aspect of our courses
equips you with the skills and qualifications you need in
today’s job market. In fact, many of our courses involve
work placements, helping to make our graduates
highly employable.
We’ve invested heavily in innovative technology to give our
students the best possible preparation for their chosen
careers. Facilities include a mock law court, a virtual
radiography suite, broadcast studios, fashion workshops, a
mock operating theatre and many more.
Our commitment to the future is underlined by the multimillion pound investment we’re making over the next five
years. Plans include new student accommodation and a
£7m City North Sports Centre, which boasts an 80-station
fitness suite, an eight-court sports hall, and workout and
spinning studios.
The Centre, which opened in January, offers state-of-theart fitness training equipment and plenty of room for team
sports including five-a-side football and cricket. A soonto-be-completed all-weather pitch will add the finishing
touches to the centre, which is located close to our City
North Campus.
For more information about Birmingham City University,
visit www.bcu.ac.uk
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MILLENNIUM POINT, LOCATION OF
BIRMINGHAM SCHOOL OF ACTING
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OUR STAFF
COURSE DIRECTORS
For the training of students on our full-time courses,
we employ full-time tutors and course directors as well
as a variety of visiting tutors. All our academic staff are
industry trained and remain engaged in their professions.
DANIÈLE SANDERSON
Deputy Head of School
STEPHEN SIMMS
Director of School and Head of Acting
Stephen is a graduate of Bristol University and RADA.
He went on to join the Royal Shakespeare Company, with
whom he acted for several years.
He has appeared in the West End, feature films, television,
and regional and international theatres. He was also a
member of Declan Donnellan’s award-winning Cheek by
Jowl theatre company.
Stephen has worked as a director and drama tutor with
the Shakespeare Birthplace Trust, the University of
Ferrara, Italy, and several US universities including Ohio,
Memphis, Texas, Virginia, Boston and Pomona LA. He
directs and teaches on both of our acting courses.
BA (Hons) Acting
PgDip Physical Theatre
Danièle trained as an actor at The Drama Centre, London,
going on to study ‘awareness through movement’ in Paris.
In England she has worked as a freelance performer,
movement director and workshop leader before moving
into directing. She successfully completed an MA in
Theatre Directing from Middlesex University in 2004.
Danièle initially joined BSA as a director and acting tutor,
becoming Course Director for the Graduate Diploma in
Acting. She became Course Director for the BA (Hons)
Acting programme in 2004. She is currently studying to be
a Feldenkrais practitioner.
HANNAH PHILLIPS
BA (Hons) Community And Applied Theatre
BA (Hons) Community And Applied Dance Theatre
After graduating from the Central School of Speech and
Drama, Hannah became Artistic Director of Adrenalin Arts’
Children’s Theatre Schools, followed by Associate Director
(Education) for Y Touring Theatre Company. She then
worked as a freelance director/practitioner for companies
and venues across London. On her return to Birmingham,
she became a Director and Course Director for the
Birmingham Theatre School. Hannah is also Artistic
Director of her own companies, Pink Space Theatre
Company and Birmingham Library Theatre Company,
and a film and theatre critic for BBC WM. Hannah
joined BSA in 2009 as Course Director while sharing her
expertise with the Birmingham Repertory Theatre as its
Theatre Education Director.
PHOTOGRAPH CREDITS
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LISE OLSON
DAVID VANN
PgDip /MA Acting
Lise came to Birmingham from Merseyside, where she
trained actors for a decade at the Liverpool Institute for
Performing Arts (LIPA). She holds a BA (Hons) Theatre
from Northwestern University in Chicago and a Master of
Fine Arts in Directing from the University of Utah. She has
done further postgraduate study at the Central School of
Speech and Drama (ADVS) and the Shakespeare Institute.
Part-time and short courses
David is a graduate of the University of East Anglia
and trained for the theatre at LAMDA. His professional
experience has been very varied, including work as a
clown, periods with the National Theatre and Chichester
Festival Theatre, and in repertory and touring companies.
He has considerable experience of radio and television
work, including nine years as DS Barry in The Archers
The recipient of directing awards in the USA and UK, Lise
was a founding artistic director of Seattle’s first small
specialist musical theatre company. Her West End credits
include The Witches of Eastwick, Coyote on a Fence and A
View From the Bridge
He has directed in theatres and community projects all
over Britain and is currently Chair of the Actors’ Centre,
Midlands. He is also a director with the New England
Youth Theatre in Vermont, USA. His writing work includes
several original plays and adaptations for the stage.
ALEX TAYLOR
He has worked with BSA since the early 1990s and has
taught and directed all full-time courses. He has been
Course Director of Part-time Courses since 2001.
PgDip /MA Professional Voice Practice
MA Acting: The British Tradition
Alex has worked extensively in actor training in Higher
Education and within the professional theatre both
nationally and internationally, as a director and as a voice
specialist. Principal of the School of Theatre Manchester
Metropolitan University from 1984-90, he has also worked
as Head of Voice at Rose Bruford College (1979-84),
Master Teacher of Voice at the Juilliard School, New York
(1990-92), and as Head of Voice and Movement, Hong Kong
Academy for Performing Arts (1993-2003).
His freelance voice work has included serving as a voice
and dialect coach for theatre companies in the UK, USA
and South East Asia, including: the Royal Shakespeare
Company, Hartford Stage (Connecticut), Laura Glen
Dance Company (New York), Royal Exchange Theatre
Company (Manchester) and the Theatre Royal (Stratford,
London). He has taught master classes for Shanghai
Theatre Academy, the University of Korea, and the Chinese
University of Hong Kong, and has taught Voice for The
Actors’ Centres in London and Manchester. Additionally,
he has directed over 40 productions for professional
theatre companies and drama schools, including Lady
Windermere’s Fan for the National Theatre of Korea.
JACQUI FINDLAY
Production Manager
BA Stage Management
Jacqui is a graduate of the University of Birmingham
where she studied Dance & Theatre Arts. She became
a full-time Deputy Stage Manager with BSA where she
progressed to Company Stage Manager before leaving in
2002 to embark on a freelance career. She has toured both
nationally and internationally, working as stage manager
and production manager. Most recently she has been Tour
Manager for CandoCo Dance Company before returning to
BSA as Production Manager and Course Director for the
BA Stage Management. Jacqui has also worked in both TV
and film.
PRODUCTION DEPARTMENT
The Production Department consists of a highly qualified
professional stage management team, as well as a
Property Master, Set Designer and Wardrobe Mistress.
Together, the department helps to deliver a professional
experience for students.
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THE LEARNING ENVIRONMENT
TRAINING AT BSA
BSA is based in the Millennium Point complex in the
city’s Eastside and occupies two purpose-built floors.
It consists of 11 studios, including a large performance
studio, which have set new standards in drama
training facilities. The building has been designed
by the renowned Associated Architects and Arup,
which specialises in providing engineering and
acoustics solutions.
The nature of the training at BSA encourages learning in
small groups led by professionally trained staff who are
specialists in their fields and have worked extensively
in the industry. There is a great deal of emphasis on
professional development and student assessments
take the form of performances, most of which are in
front of an audience.
Each studio contains: specialist acoustic panelling,
ideal for voice and singing tuition and rehearsals for
productions; specialist sprung floors which are essential
for our movement and physical skills sessions; a heating
system that radiates heat equally around the studio; and
an air replacement system that maintains a constant
room temperature.
The large performance studio, known as the Patricia
Yardley Studio, uses variable acoustics which can be
adjusted to suit performance needs. It also houses a fully
operational lighting rig and a quadraphonic sound system.
This studio is used for taught classes across all courses
as well as for performances, where a professional raked
seating and/or staging system is constructed.
BSA produces up to 16 live public performances,
a range of radio plays and a film screen performance
each year. Directors with extensive professional
experience are employed to work with students in the
final stages of their training. The live performance
work takes place in professional theatre venues and is
supported by the production department, and radio and
screen production is undertaken in partnership with
commercial companies and crews. This provides you with
a real professional experience.
In the final year BA (Hons) Acting and MA Acting courses,
you are presented to invited audiences of agents and
casting directors in showcase productions in Birmingham
and London.
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OUR COURSES
In 2007 the BA (Hons) Community
and Applied Theatre/Dance Theatre
was introduced. The first year of
this course is delivered primarily by
practitioners working within BSA
and teaching across all courses.
Teaching takes place predominantly
within the studios at Millennium
Point. Throughout the three years
of the course additional teaching,
workshops and professional
development work are delivered
both on and off site by specialist
practitioners with experience in a
variety of aspects of community
theatre. This course has links with
Birmingham Repertory Theatre.
The following year saw the launch
of our degree in Stage Management,
a MA in Professional Voice Practice
supported by the Royal Shakespeare
Company, and a PgDip in Physical
Theatre. In 2009 our MA Acting: The
British Tradition was introduced,
giving professionals a chance to
look closer at the quality of the
UK’s theatrical development.
These courses all enable students
to engage with professional best
practice in both performance and
pedagogic styles.
THEATRE COMPANY
In 2010 we intend to offer a
postgraduate course in Shakespeare
and classical acting.
BSA has strong relationships with
many important local industry
professionals and organisations.
These include the, the BBC,
The National Exhibition Centre,
Birmingham Repertory Theatre,
Birmingham Conservatoire,
Birmingham Institute of Art and
Design, The Drum, Dreamfinder
Productions, Aquila TV, Big Brum,
Pentabus Theatre, The Soho Theatre,
The Old REP Theatre, The Crescent
Theatre, The Old Joint Stock Theatre,
The Playhouse (Language Alive) and
Women in Theatre.
With all of our acting courses, the
emphasis is on learning through
performance. Our Theatre Company
comprises final-stage acting course
students who regularly present plays
in the Birmingham area. Over the
years this group has established a
reputation as one of the city’s most
exciting companies and former
members have gone on to enjoy
success in films and television, as
well as on the professional stage.
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BA
(HONOURS)
ACTING
GRADUATE
DESTINATIONS
SECTION 2
To paraphrase the English artist Hogarth: art is a business. Today’s student
leaving BSA understands that to succeed there must be innate talent, but this
talent can be so easily wasted if they don’t know how to operate as a business.
Here at BSA students will learn how agents, casting directors and employers
work. They will have lectures from theatrical accountants, Equity (the actors’
union) and The Spotlight (the trade directory), and at the end of term each
student will have a personal meeting with an agent. We want to prepare the
student for a successful career but it is important that they realise they are in
charge of their own business.
JOHN COLCLOUGH
CAREERS CONSULTANT
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Graduate Profiles
Tom Lister is currently appearing
as Carl King in Emmerdale (ITV).
“I always had an interest in acting
when I was younger. I got a part in the
school play and after that I just totally
got the bug to act. I decided to defer
university and thought that I might
as well give drama school a shot.
I applied to three drama schools
including Birmingham. I auditioned
at Birmingham first and it had this
really warm environment where
you were made to feel welcome and
comfortable. I had a chance to show
the different facets of my ability
and personality. I really enjoyed the
experience and loved the fact that I
was given feedback from the panel
while I was there. My second audition
at another drama school was a
completely different experience; it
was just ‘yes or no’.
When BSA offered me a place I
thought it was definitely the right
school for me. I didn’t really have
any expectations when I started at
BSA, I was just really hungry to learn
and it was hard work from day one. I
enjoyed the third year the most. We
got to do a variety of plays throughout
the year, working with professional
visiting directors and experimenting
with everything we’d learnt. We also
performed in various venues around
the city which was great experience
compared to just performing in one
space all the time. BSA provides a
realistic training for any actor. They
will prepare you for the real world.”
PHOTOGRAPH CREDITS
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Bryony Taylor
BA (Hons) Acting (2006)
The CragRats company at Holmfirth,
where Last of the Summer Wine is
filmed, employs more actors than any
other organisation. Bryony Taylor has
been working for CragRats for the
past 18 months. Born in Truro, she
trained at BSA and is still based in
the city.
When did you decide to be an actor?
There was a summer school at
Truro College, when I was 17. We
were making a musical with some
professional directors and one of
them pulled me aside and said, ‘You
should really think about doing this
as a career’. So I did.
So what exactly is CragRats?
An education and training company.
They set up a drama on a particular
theme and then on workshop issues
from the drama. They do corporate
training with companies such as
Asda and BT, and education work in
schools. My team is touring schools
with a show about responsible
drinking. It’s not just about alcohol;
it’s about relationships, making
decisions and personal safety. There
are a lot of physical exercises and
games. Then the children fill in a
detailed evaluation.
How do you fit in?
I’m a team leader. There are three
actors in a team. Being a team
leader means taking on more of the
director’s role in getting the show
up on its feet. It’s also being a point
of contact when you’re on tour and
leading the workshops. We are given
a script by the CragRats’ creative
team and we can adapt it to suit
us. We rehearse at the CragRats
headquarters – it’s a restored mill in
Holmfirth. It has a small theatre
What is a typical day?
Getting up at six o’clock and leaving
for school at half past seven. We have
to be at school an hour before the
show starts, for the set-up. Then we
do the show and have a clear onehour workshop. All the workshops are
planned. Then it’s moving to the next
school for exactly the same procedure
in the afternoon and we finish at about
half past three. We have the evenings
free and the weekends.
How far have you travelled with your
current show?
Scotland, Nottinghamshire, Yorkshire,
Manchester and London for a couple
of weeks. Digs are provided, we don’t
have to go looking for them, which is
a great help. We were in Scotland last
week on the Isle of Islay and we stayed
in a castle the night before – a very
comfortable castle.
How effective is a CragRats show?
Last autumn, CragRats was asked to
set up a show to help the fire service
in South Yorkshire. They wanted
to cut the number of mischievous
emergency calls over night and
bonfire night by 20%. They said that,
as a result of our show, the number
of calls was cut by 45% and that had
saved the fire service £1.1 million.
How do you relax?
Going to the park, sitting in the sun
and reading. I like being in Sutton
Park, just outside Birmingham.
This piece written by Kevin Berry was
originally published in The Stage,
9 June 2009, and we have been kindly
allowed to reproduce it here.
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ALUMNI
A selection of our alumni credits
FLORA MITCHELL (2009)
The Cherry Orchard (the Lowry
Manchester and International and
UK tour)
THOMAS ASHLEY (2009)
Down to Earth (Kinetic Theatre
Company)
NICK HOLBECK (2009)
Othello (Icarus Theatre Company).
CHOLE - JEAN BISHOP (2008)
Gone With the Wind (New London
Theatre)
DANIEL FINN (2008)
Blowing Whistles (Leicester Square
Theatre), Snow White (Blackfriars
Theatre)
AMY BOOTH-STEEL (2007) Sound of Music (West End), Sister
Act (West End), Velma in Scooby-Doo
(UK tour), Genie in Aladdin (Swan
Theatre) SERAY MORKA (2007)
Romeo in the City (Theatre Centre) ERY NZARAMBA (2007) Romeo in the City (Theatre Centre)
ASHLEY TAYLOR-RHYS (2007) Twelfth Night (Royal Shakespeare
Company), War Horse (Royal
National Theatre)
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NALINI CHETTY (2006)
Yellow Moon (Citizen Theatre Company
and Broadway, New York), Amid The
Clouds (Battersea Arts Centre)
LOUISE MARDENBOROUGH (2006) Filth: The Mary Whitehouse Story
(BBC TV), Doctors (TV), The Snow
Queen (Theatre Royal Stratford East)
REBECCA MCQUILLAN (2006
Desire Under The Elms (Citizen
Theatre Company)
CRAIG STORROD (2006)
The Fixer, Sound, The Bill (TV), Five
Guys Named Moe (The English
Theatre Frankfurt), Romeo and Juliet
(Escapade Theatre), The Snow Queen
(The Theatre Royal Stratford East)
CATHERINE TYLDESLEY (2006)
It’s Adam and Shelley, Iris in Lilies,
Drop Dead Gorgeous, Coronation
Street, Sorted, Holby City (TV), Miss
Nightingale (Film)
DREW WEBB (2006)
Filth: The Mary Whitehouse Story
(BBC TV)
DANIEL ANDERSON (2005)
Fools Paradise (Nu Century Arts), The
Bill (TV), God is a DJ (Theatre Centre)
REMI WILSON (2004)
Promises and Lies (Birmingham REP),
Playboy of the West Indies (Almeida),
William and Mary, Hyperdrive (TV). As
Remi Nicole she released her debut
album ‘My Conscience & I’ on Island
Records in 2007, her second album
‘Cupid Shot Me’ was released in
August 2009.
HELEN GEORGE (2003)
Hotel Babylon, Hollyoaks (TV) High
School Musical (Disney Tour), The
Woman In White (West End)
NIGEL BOYLE (2003)
The Ken Campbell Impro Show
(The Inn on the Green), Sweet Love
Remembered (Shakespeare Globe),
Casualty, The Peep Show, All In The
Game (TV)
DHAFFER L’ABIDINE (2002)
Rise of the Footsoldier, The Mark of
Cain, The Children of Men (Film), The
Whistleblowers, Prince of Poets, Thieves
Like Us, Spooks, Dream Team (TV)
KIERON HILL (2002)
The Histories, King Lear (Royal
Shakespeare Company), Scapino,
Midsummer Night Dream, Merchant
of Venice, The Government Inspector,
5/11, The Gondoliers, The Water
Babies (Chichester Festival Theatre).
As Director; Unopened Doors
(Chichester Edge Festival)
TOM LISTER (2001)
Emmerdale, The Bill, Heartbeat (TV),
Love’s Mistress (Globe Theatre)
JAMES DAFFERN (2000)
Where The Heart Is, Doctors, Holby
City, The Rotters’ Club (TV), Smirnoff,
Tango, Fiat Punto (Commercials)
KATY LEEMING (1999)
Tess of the D’Urbervilles, La Cava,
Les Miserables (West End), Beyond
The Barricade (UK tour), The Wizard
of Oz (Birmingham REP)
LUKE MABLY (1998)
Festen (West End), Blue Murder, Who
Gets The Dog, Holby City, Dream
Team (TV) Save Angel Hope, The
Prince and Me 2, Colour Me Kubrick:
A True…ish Story, Spirit Trap, The
Prince and Me, 28 Days Later (Film)
JIMI MISTRY (1996)
Spooks, EastEnders (TV), Blood
Diamond, Partition, Ella Enchanted,
The Guru, My Kingdom, East is East
(Film)
JULIUS D’SILVA (1989)
Notes on a Scandal (Film), Henry VI
Part I, II & III, Great Expectations, The
Great Pretender, House of Desires,
Tamar’s Revenge, Dog In The Manger
(Royal Shakespeare Company)
24
PHOTOGRAPH CREDITS
BA
(HONOURS) AND
ACTING
BIRMINGHAM
THE ARTS
SECTION 3
BIRMINGHAM
Birmingham is a city that is reinventing itself, with a
massive amount of regeneration in the city centre. It has
all the entertainments and facilities a student needs.
With nightlife to rival that of any major city, world-class
sporting facilities, a superb arts and cultural scene,
cosmopolitan cuisine and excellent shopping facilities,
there’s something for everyone.
One of the jewels in its crown must be the canal side
area in the heart of the city. Known as Brindleyplace,
it has a wide variety of bars and restaurants, as well
as modern office spaces, hotels, the Crescent Theatre
and the National Sea Life Centre. The area has gained
international recognition with a recent ‘Excellence on the
Waterfront’ award.
When you come to Birmingham, prepare to be surprised.
The city has enjoyed a renaissance in the last few years,
with the renovation of its historic areas and the creation
of many new developments. The £500m Bullring centre,
which includes the iconic Selfridges building, and other
retail triumphs such as the Mailbox and revamped
markets, have led to the city being dubbed ‘the shopping
capital of Europe’.
Nights out can take you from the bustle of Broad Street
and the Arcadian in the Chinese Quarter to any one of a
host of clubs. Many of these are already firmly on the map
of the discerning club-goer, including Air, The Medicine
Bar, The Custard Factory and The Sanctuary.
If you’re looking for something more sedate, why not head
for Brindleyplace, another recent development with coffee
shops, bars and restaurants. And being the home of the
Balti, Birmingham’s got to be one of the best venues for
multicultural cuisine, with something to suit every palate
and wallet.
If people-watching over a coffee isn’t sedate enough for
you, there’s an abundance of parks and green spaces and
more miles of canal than even Venice can boast. Canon
Hill Park and the Botanical Gardens offer peace within the
city limits but you can easily head off to the Malverns or
the Cotswolds for even more tranquillity.
With a vastly improved transport system opening up
historic and modern sights in and around the city,
Birmingham is a fascinating place to live and explore. So
whether it’s your base for the duration of your course or
you settle here on a more permanent basis like many of
our graduates, Birmingham truly is a fantastic place to
call home.
25
26
THE ARTS SCENE
Rich in cultural diversity and with a
vibrant arts scene, Birmingham is
an exciting base for emergent art,
design, performance and media
practitioners. With a multitude
of theatres, galleries, design
and photography studios, public
art spaces and cinemas, the city
nurtures artistic practice.
Visual arts are in abundance, from
exhibitions in the city’s bars, public
spaces and small galleries to
national touring exhibitions at the
Ikon Gallery and Gas Hall.
Birmingham has a number of
venues which provide classical and
modern drama, West End musicals,
comedies, ballet and student drama,
the foremost being the Birmingham
REP, Birmingham Hippodrome
and Alexandra Theatre. The
Hippodrome hosts visiting theatre
and dance companies throughout
the year and is also the home of the
acclaimed Birmingham Royal Ballet.
Birmingham is also in close vicinity
to Stratford-upon-Avon, home to the
world-famous Royal Shakespeare
Company.
A welcome addition to Birmingham’s
exhibition spaces is Thinktank, the
refurbished Museum of Science and
Discovery. Thinktank celebrates the
history of scientific inventors and
offers a thrilling peek into the future.
It’s situated in the Millennium Point
complex which is also home to BSA.
For a multicultural mix of all
art forms there’s the Midlands
Art Centre, which is unique in
representing and reflecting the
diversity of cultures in the region. For
a varied programme of contemporary
African, Asian and Caribbean arts
and events, the Drum has established
itself as the national centre for black
British arts and culture.
This commitment and passion for
the arts is reflected in many of the
festivals hosted in the city. These
include Arts Fest – an annual free
festival featuring artists from all
disciplines from across the West
Midlands. The city also celebrates
new British and international
contemporary performance and
visual live art with the FIERCE!
Festival, which takes place at venues
and clubs across the region.
Birmingham is a city for music
lovers. Symphony Hall, in the
International Convention Centre, is
one of the finest concert venues in
Europe, and is home to the worldclass City of Birmingham Symphony
Orchestra. The National Exhibition
Centre and National Indoor Arena are
ideal large-capacity music venues
and have hosted concerts by many
international stars. There’s rhythm
and blues at Jools Holland’s ‘Jam
House’ and rock and independent
artists at the O2 Academy.
The city also enjoys a fine comedy
heritage; in fact Frank Skinner
studied at the University and recently
received an Honorary Doctorate.
There are several fantastic comedy
venues, including the Glee Club
and Jongleurs, both of which offer
student concessions.
As part of Birmingham City
University’s commitment to the
recognition and support for arts
in the city, it launched the New
Generation Arts (NGA) Festival in
2006. Birmingham City University
continues to showcase young
creative talent throughout the year
with showcase events across the
creative arts. This helps to confirm
Birmingham’s position as a centre for
culture and emerging artistic talent.
USEFUL INFORMATION:
www.macarts.co.uk
www.02academybirmingham.co.uk
www.icbirmingham.com
27
28
STUDENT LIFE
SECTION 4
29
THE STUDENTS’ UNION
The Students’ Union is a democratic
membership-led organisation which
aims to represent and support all
students throughout their time at
Birmingham City University.
We’re dedicated to getting students
involved in as many ways as possible.
There are dozens of sports teams
and societies you can join, and if you
can’t find anything that interests you,
why not set up your own? It’s a great
way to meet new people and develop
transferable skills.
You can also get involved with student
campaigns, volunteering, ‘Give it a
Go’ activities and Development Needs
Answers (DNA) training sessions.
Getting involved with your Students’
Union means good fun and a great
addition to your CV.
University life can be exciting, fun
and rewarding. However, there may
be times when you need to deal with
money issues, housing problems
or academic matters. Our Advice
Centre is staffed by professional
advisors who can assist you with a
range of issues and provide loads
of useful information. As part of
the Union, the Advice Centre is
totally independent and guarantees
absolute confidentiality.
If you have any issues or ideas to
share, don’t hesitate to contact our
Executive Officers – five elected
student representatives who are
there to support and help you.
You can also use our website
www.birminghamcitysu.com and
suggestion boxes at Students’ Union
receptions/bars to give your feedback
on Union matters.
30
STUDENT SOCIETY AT BSA
At BSA the student council is
responsible for helping staff look after
the welfare of our students. There are
ten members of the council each with
specific jobs aimed at making your
time at BSA as fun as possible.
The council runs major social events
such as the Christmas party and the
End of Year Ball. Its responsibilities
include finding venues, choosing
themes and generally making sure
that the party goes off without a hitch.
Not only is the council responsible for
the social side of student life, it also
provides advice on accommodation
for new students. This means that
they are able to suggest landlords and
areas that are known to be good value
and pleasant to live in.
Apart from these somewhat
business-like duties, the council
is a great support to students as
individuals and is always available for
advice should you need it. Because
the council is made up students, it
makes us all the more capable of
helping you with settling in and any
other problems that might occur
during your time at BSA.
KEVIN VARTY
Chair of BSA Student Council 2008-2009
31
ACCOMMODATION
Accommodation is available either through BSA’s
Student Society or Birmingham City University’s
Accommodation Service.
BSA’S STUDENT SOCIETY
Housing days take place prior to the start of each
academic year. The Student Society’s Accommodation
Officers help new students to find an appropriate
residence with other BSA students. Most of our students
choose this option and benefit from sharing a house with
students who are at different stages of their training.
There are Facebook book pages for freshers, where
questions and answers about accommodation can be
found. Search for ‘Birmingham School of Acting’ to find
latest pages.
BIRMINGHAM CITY UNIVERSITY’S
ACCOMMODATION SERVICE
The University offers a range of accommodation across
Birmingham. Rooms in our halls of residence are
offered on a minimum 40-week contract and include
catered rooms, self-catered rooms, en suite rooms, units
suitable for postgraduates, units for students with small
families, and accessible purpose-built units for students
with specific needs. We can also provide details of
accommodation in the private sector.
A place in halls is guaranteed for full-time students who
hold a Conditional Firm or Unconditional Firm offer by 31
May in the year of entry and who live a distance from the
University which precludes commuting.
While our Accommodation Services team try their best
to accommodate preferences for particular halls, these
cannot always be guaranteed. Full-time students who
live in the greater Birmingham area may receive an offer
of accommodation if sufficient rooms are available.
Offers of accommodation are usually made in the
summer period following examination results, once
you have confirmed acceptance onto a course. At this
point you will be sent more detailed information and an
application form.
The cost of a room in halls includes heating and lighting.
All rents are subject to an annual increase on
1 September.
All rooms are fully furnished, most are self-catered
and all are equipped with a private telephone line and
internet access. Shared kitchens have cooking facilities
but do not contain crockery, cutlery or cooking utensils.
Each site has its own launderette.
For further information please see:
www.bcu.ac.uk/accommodation
32
BAAPPLYING
(HONOURS)
TO ACTING
BSA
SECTION 5
33
HOW TO APPLY
AUDITIONS
Once you’ve found the course you’d like to apply for, it’s
important that you make sure you have, or are expected
to achieve, the entry requirements for that course. Please
check the course information in Section 7 (page 42).
The following courses require an audition:
• BA (Hons) Acting
• PgDip/MA Acting
• PgDip Physical Theatre
You should then submit an application form. You can
contact us to request an application form, fill in the
request form at the back of this prospectus, download a
form from our website or apply directly online. Visit www.
bsa.bcu.ac.uk/Auditions/index.html for details.
INTERVIEWS
Applications for all full-time courses should be made
directly to BSA; however, applications for the BA (Hons)
Community and Applied Theatre/Dance Theatre and BA
(Hons) Stage Management can also be made through the
Universities and Colleges Admission Service (UCAS). Visit
www.ucas.com for details.
If successful you will be invited to either an audition or an
interview. For each course we have produced a guide to
help prepare you for audition/interview (see Section 9 page 69).
The following courses require an interview:
• BA (Hons) Community and Applied Theatre
• BA (Hons) Community and Applied Dance Theatre
• BA (Hons) Stage Management
• PgDip/MA Professional Voice Practice
• MA Acting: the British Tradition
It is possible that you might be asked to participate in a
short workshop or other exercise associated with
the course.
The interview for PgDip/MA Professional Voice Practice
requires the preparation of a Shakespeare sonnet, and
a two-minute speech in verse from an Elizabethan/
Jacobean play or a musical theatre song. The MA Acting:
the British Tradition requires a two-minute speech in
verse from an Elizabethan/Jacobean Play and a twominute speech from a British play written between
1740 and 1950.
PHOTOGRAPH CREDITS
34
OFFER OF A PLACE
Following an audition or interview, one of the following
outcomes is possible:
• You are offered an Unconditional place on the course –
this means that you are definitely offered a place. This
offer is only for the year in which you apply.
• You are offered a Conditional place on the course –
this is subject to you achieving the required academic
qualifications. This offer is only for the year in which
you apply.
• You are offered a Reserve place on the course – this
is the most common outcome. It indicates that you have reached an acceptable standard, but because
applications and auditions/interviews happen throughout the year we cannot allocate all places on a course until the auditions/interviews have been completed. This is of particular relevance to the
Acting courses.
• You are not offered a place on the course. You cannot
re-apply for a place on the same course in the same
academic year.
APPEALING AGAINST AN UNSUCCESSFUL AUDITION
To appeal against a decision you should contact the
Registrar within 14 days of notification. They will send
you a copy of the Appeals Policy. An Appeals Panel, led
by a senior member of staff who was not involved in your
audition, will thoroughly investigate any appeals, and you
will be notified of the outcome.
OPEN DAYS
Our Open Days provide an excellent opportunity to see our
facilities, discuss courses with teaching staff and current
students, and get a feel for life as a BSA student. For details
of our forthcoming Open Days, visit www.bsa.bcu.ac.uk/
events/openday.html or complete the form at the back of
this prospectus.
35
“The variation of talks,
master classes and student
experiences was excellent.
I walked away with so
much determination to go
to drama school and BSA
in particular.”
EMMA HUBBLE
OPEN DAY PARTICIPANT
36
FEES AND FUNDING
Course fees
For UK and EU students on full-time undergraduate
degree courses at BSA, part of the course fees are funded
by the Higher Education Funding Council for England
(HEFCE). You will need to pay the mandatory student
contribution as set by the UK Government – visit www.
bcu.ac.uk/prospective/finance for the latest information.
Students from outside the EU must pay the full course
fees – see www.bcu.ac.uk/international/tuition-fees
Audition/interview fees
BA (Hons) Acting .............................................................£40
PgDip/MA Acting .............................................................£40
PgDip Physical Theatre ...................................................£40
BA (Hons) Community and Applied Theatre ..................NO FEE
BA (Hons) Community and Applied Dance Theatre .......NO FEE
NO FEE
BA (Hons) Stage Management ........................................
£40
PgDip/MA Professional Voice Practice ...........................
MA Acting: The British Tradition ................................... £40
Funding
Students in England and Wales may apply to their Local
Education Authority for help with course fees, which
will be means-tested. Students in Scotland should
apply to the Students Award Agency for Scotland (SAAS)
and students in Northern Ireland should apply to the
Department of Education, Northern Ireland (DENI).
Students who are assessed as not having to pay full fees
may also be eligible for a bursary of up to £525 from
Birmingham City University.
EU students may apply to the EU team at the Department
for Innovation, Universities and Skills (DIUS) for help with
fees and in some cases student loans.
Students with previous degrees may not be eligible for
help with the mandatory fee contribution, but they may
still apply for additional student loans. Postgraduate
students can also apply for a Career Development Loan.
37
Student loans
DISABILITY/EQUAL OPPORTUNITIES
Full-time undergraduate UK students can apply for a
loan from Student Finance England to cover the cost of
their course fees. 75% of the student loan is non-meanstested, which means all eligible students can receive it.
The benefit of the loan is that you can delay repayments
until you have graduated and are earning a minimum
of £15,000.
At Birmingham City University we think it is important
that you feel you can tell us about any disability you may
have. We regard disclosure of a disability as a positive
step, because once we are aware of your disability we can
try to support your individual needs. Please contact the
Disability Service on 0121 331 5128, or email:
[email protected]
USEFUL INFORMATION
Birmingham City University promotes equality of
opportunity in every aspect of its provision. For full details
of our Equal Opportunities Policy please visit:
www.bcu.ac.uk
Student Finance England
www.direct.gov.uk/en/EducationAndLearning/
UniversityAndHigherEducation/StudentFinance
Career Development Loans
www.direct.gov.uk/cdl
Careers Service or Connexions Partnership
Your local Careers Service or Connexions Partnership
can tell you about the range of course providers or job
opportunities: www.connexions.gov.uk
Adult learning
For information on financial assistance to support your
learning, please visit:
www.direct.gov/adultlearning or call 0800 100 900.
38
Image courtesy of the Royal
Shakespeare Company
ADVICE FOR INTERNATIONAL STUDENTS
SECTION 6
BSA welcomes applications from students from all over the world. Birmingham
has one of the largest international student populations in the UK and
benefits from a large choice of attractions and entertainment. It also has
an international airport serving many of the world’s major cities. Students
find it easy to settle into city life and all it has to offer, while also discovering
the magnificent rural and historical landscapes on the outskirts of the city.
Stratford-upon-Avon, the birthplace of Shakespeare and home to the Royal
Shakespeare Company, is only 30 minutes away. Elizabethan and Jacobean
properties in Birmingham and nearby Warwickshire include the magnificent
Aston Hall, Warwick Castle and the beautiful Coughton Court, which was home
to Guy Fawkes and the infamous Gunpowder Plot.
39
40
GRADUATE JULIUS D’SILVA
In the Royal Shakespeare
Company’s production of
Henry IV Part 2 as part of
Michael Boyd’s History Cycle.
Image courtesy of the Royal
Shakespeare Company
41
Qualification Requirements
Normally, a candidate for an undergraduate course
should satisfy the University entrance requirements for
an honours degree in their own country. Please contact
the Registrar for further information (see details below).
ENGLISH LANGUAGE REQUIREMENTS
All teaching, performances and assessment on our
courses are in English. International candidates should
therefore be able to demonstrate proficiency in English; if
considered appropriate this will be examined in auditions/
interviews. Candidates whose first language is not
English and cannot supply evidence of one of the accepted
qualifications with their application or at audition/
interview may be required to take a diagnostic test in
English language skills.
Accepted qualifications include:
• An IELTS (International English Language Testing
System) score of at least 6 (or 7 if applying for a
postgraduate course)
• A TOEFL (Test of English as a Foreign Language) score of at least 550 including Practical Assessment (score of 600 if applying for a postgraduate course)
• A grade C or above in the Cambridge Certificate of
Proficiency in English (grade B or above if applying for a postgraduate course)
A full list of the minimum accepted qualifications is
available at www.bcu.ac.uk/international
For further information on International Admissions
please contact BSA directly or the University’s
International Office:
Registrar
Birmingham School of Acting
Millennium Point
Curzon Street
Birmingham
B4 7XG
T: + 44 (0)121 331 7220
E: [email protected]
www.bsa.bcu.ac.uk
International Office
Birmingham City University
Perry Barr
Birmingham
B42 2SU
T: +44 (0)121 331 6714
www.bcu.ac.uk
42
AUDITIONS AND INTERVIEWS
WORKING IN THE UK
Our courses require an audition or interview. The table
outlines the application process for each course. You
should ensure that you have read and understand the
entry requirements and that you meet the English
language requirements before submitting an application
form. Where applicable you should provide evidence
that you meet the English language requirements with
your application form. You can contact us to request an
application form, download a form from our website or
apply directly online. Visit:
www.bsa.bcu.ac.uk/Auditions/index.html for details.
If you are not a European Economic Area (EEA) citizen you
will usually be granted permission to work in the UK up to
20 hours per week during term time and full-time during
vacations. However you should be aware that you will only
be admitted to the UK on the understanding that you have
identified sufficient funds to support yourself and any
dependants without taking employment. Therefore you
will not be allowed to depend on finding employment in
the UK to fund your stay here.
DVD audition submissions
International students may submit an Initial Audition on a
multi-regional format DVD. The content should follow the
instructions for initial audition laid out in Section 9 (page
67) Applicants Guide: Auditions and Interviews. Please do
not send show reels as they will not be considered as part
of your application.
US audition centres
We occasionally hold auditions in Chicago and New York.
Please visit www.bsa.bcu.ac.uk/International/advice.html
for the latest information.
SUPPORT WHILE YOU STUDY
When you arrive in Birmingham, you will take part in
an International Welcome, during which you will have
the chance to meet and get to know other international
students at the University. You can also take advantage
of individual support from our Student Services team
throughout your studies.
The UK Government has recently changed its policies
to make it easier for some students to stay and work
in the UK on successful completion of their studies. In
particular, if you successfully complete a BSA degree and
an employer obtains a work permit for you, then you may
become a work permit-holder without having to leave
the UK. There may be other conditions under which you
would be allowed to stay and work in the UK, for example
if you qualified as a highly skilled migrant. Up-to-date
information is available at www.ukvisas.gov.uk
Please note that the information in this prospectus is
intended to be a guide only.
Useful websites
Birmingham City University International Advice Service:
www.bcu.ac.uk/studentservices/international
Birmingham City University – information for
international students:
www.bcu.ac.uk/international
Birmingham School of Acting (BSA):
www.bsa.bcu.ac.uk
British Council
www.britishcouncil.org or
www.educationuk.org
UKCOSA: The Council for International Education
www.ukcosa.org.uk
43
INTERNATIONAL APPLICATIONS
COURSE
ENTRY THROUGH
AUDITION OR
INTERVIEW
WHAT TO SUBMIT
STAGES OF APPLICATION PROCESS
BA (HONS) ACTING
Two-stage audition
process: Initial and
Recall Audition (please
see Applicant’s Guide
on page 69)
You should submit the
correct application form
and you may submit an
Initial Audition on DVD.
1. Confirmation that the application has been received.
2. Admissions Manager ensures that the entry
requirements are met.
3. You will be invited to an initial audition or the panel will
watch audition DVD submission to assess suitability for
entry on to the course.
4. You will be notified of the panel’s decision.
5. If you are successful you may be invited to attend a
Recall Audition at BSA.
6. Shortly after the Recall Audition you will be notified of
the outcome.
Interview with Course
Director (Please see
Applicants’ Guide on
page 69)
correct application
form.
3. You can be interviewed at the school or an interview will
be carried out over the telephone to assess suitability for
entry onto the course.
4. Shortly after the interview you will be notified of the
outcome.
PG DIP PHYSICAL THEATRE
Audition (please see
Applicant’s guide on
page 69)
correct application and
you may submit an Initial
Audition on DVD.
4. You will be notified of the panel’s decision.
5. If you are successful you may be invited to attend a
Recall Audition at BSA.
6. Shortly after the Recall Audition you will be notified of
the outcome.
PG DIP/ MA PROFESSIONAL
VOICE PRACTICE
Interview with Audition
pieces (please see
Applicant’s guide on
page 69)
correct application form
and you may submit your
Audition pieces on DVD.
4. You may be offered the opportunity to be interviewed by
the Course Director to support your application.
5. Shortly after the interview you will be notified of the
outcome.
PG DIP/ MA ACTING
BA (HONS) COMMUNITY
AND APPLIED THEATRE
BA (HONS) COMMUNITY
AND APPLIED DANCE
THEATRE
BA (HONS) STAGE
MANAGEMENT
PG DIP/ MA ACTING : THE
BRITISH TRADITION
44
UNDERGRADUATE COURSES
SECTION 7
45
BA (Hons) ACTING
BA (Hons) COMMUNITY AND
APPLIED THEATRE
BA (Hons) COMMUNITY AND
APPLIED DANCE THEATRE
46
BA (Hons) ACTING
COURSE DIRECTOR APPLICATION
3 YEARS FULL-TIME
47
Danièle Sanderson
Direct to School
COURSE OVERVIEW
BA (Hons) Acting is a course of vocational training which prepares students for entry into the profession. The
course is accredited by the National Council for Drama Training (NCDT) and at all stages meets the rigorous
outcomes demanded by its professional members. The course is delivered by a team of qualified professionals
who have worked at the highest levels in their fields. The team is supported by visiting tutors, guest lecturers and
professional directors from all branches of stage, screen and broadcast media.
ENTRY REQUIREMENTS: UK & EU
COURSE CONTENT
The entry requirements for this
course are as follows:
• Admission is by audition (see Applicants Guide page 69); in
addition we would normally require two A-levels or
equivalent.
• Individual offers are made
regarding grades in order to
secure a place on the course.
• Normally 32 students are enrolled
onto the course each year.
During the first year of study the
majority of classes are on the
technical skills of acting, voice and
movement. Rehearsal techniques
are taught through project work
which culminates in internal
performances. During the first year
the emphasis is on learning technical
skills and is therefore weighted 70
per cent technical and 30 per cent
performance. This first year provides
the skills that underpin the second
year where the balance between
skills and performance becomes
equally weighted. This in turn leads to
a final year in which rehearsals and
performances, public and recorded,
together with career advice and
support, occupy almost all of the time.
will vary from large ensemble pieces
to much more intimate, small-cast
plays. During the final year of the
course each student will perform
in three live stage performances,
a screen performance leading to a
show reel and a radio play. In addition
students also have the opportunity
to enter the Carleton Hobbs
Competition for Radio, organised by
the BBC. In both the second and final
years students may also enter the
Sam Wanamaker Festival which is
held at the Globe Theatre in London.
Towards the end of the final year of
the course a showcase is presented
in Birmingham and London to invited
agents, casting directors and other
professionals.
Throughout the course students are
taught in a variety of small and large
classes (maximum 16) depending on
the nature of the class. Rehearsal
and performance groups are divided
according to the level of study and
the learning needs of the cohort. Play
selection throughout Years 2 and 3
COURSE LENGTH
3 years full-time
48
Y1
ACTING 1
ACTING THEORY
PROJECT
PHYSICAL SKILLS 1
SINGING 1
VOICE 1
VOICE
120 CREDITS - Cert HE
Y2
ACTING 2
WORKSHOPS
PHYSICAL SKILLS 2
SINGING 2
VOICE 2
240 CREDITS - Dip HE
Y3
ACTING 3
PRODUCTION
RECORDED MEDIA
SHOWCASE AND AUDITIONS
PROFESSIONAL STUDIES
VOICE
360 CREDITS - BA (Hons)
PROFESSIONAL DEVELOPMENT
Students need to develop the basic freelance personal
management skills in order to operate as a professional
actor. In group lectures, workshops and seminars,
students will gain professional advice and guidance from
tutors and relevant industry professionals and specialists.
EMPLOYABILITY PROSPECTS
Graduates from the acting courses work consistently
in all branches of performance. Recent graduates
are currently employed with The Royal Shakespeare
Company, The National Theatre, The BBC and
Independent Television, and in film (see Alumni Section).
49
50
/COMMUNITY AND APPLIED DANCE THEATRE
3 YEARS FULL-TIME
Hannah Phillips
Applications made through UCAS. Application process includes an interview.
COURSE OVERVIEW
The BA (Hons) Community and Applied Theatre/Dance Theatre are new and exciting courses offering a stimulating,
practical-based training that will prepare you for a career within community theatre/dance theatre, providing the
possibility to work as a community artist, workshop facilitator, writer, choreographer, devisor or community arts
administrator. It gives you the opportunity to connect with some of the country’s most exciting community-based
theatre and dance practitioners as well as being in an area of incredibly rich cultural and ethnic diversity. These
courses are partnered with Birmingham Repertory Theatre, one of the UK’s leading production theatres. This
innovative partnership provides opportunities for students to engage with The REP’s facilities, productions and
extensive learning and participation programmes
ENTRY REQUIREMENTS
Applicants would normally have
an A-level or equivalent in drama,
dance, performance or a related arts
subject. We also welcome applicants
with practical experience in the
performing arts. You will normally
need a range of GCSEs plus a
minimum of one of the following:
• 240 UCAS tariff points
• A-level in Drama or related subject (C), and two AS-levels
both at grade (D)
• Two A-levels, (C) Drama or
related subject and (D) in another
A-level
• BTEC National Diploma (Merit) in
Performing Arts
• BTEC National Certificate (MM) in
Performing Arts
• GNVQ Advanced (Merit) in
Performing Arts
In addition the course director and or
a member of the team will carry out
an interview to assess your suitability
for the course.
COURSE CONTENT
In year one, students focus on theatre
or dance theatre through a series of
practical workshops, projects and
skills classes and are introduced to key
ideas and elements to practical work,
which will inform them as performers,
makers of work or workshop leaders.
In two core modules students explore
the notion of community and identity
and consider performance in terms of
history and culture. Year two develops
students’ practical skills and discovers
how they might apply them to different
kinds of work and communities.
Students study arts administration
as well as writing or choreographing
for performance. There is also a
placement within a community
arts organisation or company. Year
three sees students practicing their
skills by taking various projects to
different communities in and around
Birmingham. The course is enhanced
by visits from various community
companies from around the West
Midlands, talking about their work and
occasionally giving workshops and by
visits out to see work in the area.
COURSE LENGTH:
3 years full-time
UCAS CODE:
Applied Theatre: W490
Applied Dance Theatre: W590
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Y1
SKILLS WORKSHOP
CONTEXTUAL STUDIES
COMMUNITY AND IDENTITY
THEATRE/DANCE THEATRE WORKSHOP
PROJECT
120 CREDITS - Cert HE
Y2
SKILLS WORKSHOP
PROJECT 2
PROFESSIONAL PRACTICE & ADMINISTRATION
DEVISING AND WRITING/CHOREOGRAPHY
APPLIED PRACTICE AND THEORY
240 CREDITS - Dip HE
Y3
PROFESSIONAL PRACTICE &
ADMINISTRATION
COLLABORATION PROJECT
OUTREACH PROJECT
PERFORMANCE PROJECT
COMMUNITY GROUP PROJECT
360 CREDITS - BA (Hons)
During Year 1 there are visits by different community
theatre and dance theatre companies where they
introduce themselves to the students and talk about their
work. You will also participate in some workshops or
observations of workshops led by companies. In Year 2
you will have a placement in a professional theatre/dance
theatre company or within an arts organisation; there
are also classes in arts administration and business.
Year 3 prepares you for work in different communities by
giving you the chance to create work, performances and
workshops in various communities.
This course offers a stimulating, practice-based training
that will prepare students for a career within community
theatre, providing the possibility to work as community
artists, workshop facilitators, writers, choreographers,
devisors, community arts administrators or performers.
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3 YEARS FULL-TIME
Jacqui Findlay
Applications made through UCAS. Application process includes an interview.
COURSE OVERVIEW
The course offers a thorough vocational training for those who wish to work within theatre stage management. The
course includes practical and theoretical instruction in lighting, sound, costume, prop and stage design. Students
will gain a professional knowledge of the industry and will be prepared for a variety of employment opportunities
from small-scale theatres to large multimedia events.
ENTRY REQUIREMENTS
Applicants would normally have an
A-level in a related arts subject.
You will normally need a range of
GCSEs plus a minimum of one of the
following:
• 240 UCAS tariff points
• A-level in arts related subject (C),
and two AS levels both at grade (D)
• BTEC National Diploma (Merit)
• BTEC National Certificate (MM)
• GNVQ Advanced (Merit)
• Access Programme (48 credits in
total, 36 of which need to be at
level 3 and 24 level 3 credits in a
relevant subject).
Applicants who fulfil the standard
requirements are offered the
opportunity to attend an interview
with one of the programme tutors.
COURSE CONTENT
Students will undertake a common
first year in which they will study four
strands:
• Stage Management: assistant
stage management for live
theatre and recorded media productions and concerts;
• Technical Theatre: sound, lighting
and audio visual;
• Design: props, costume and set
design;
• Theory: stage management skills
and contextual studies.
In the second year students will
work as deputy stage managers on a
mixture of school performances and
recorded media. Alongside this they
will choose specialist areas of study
and will begin practical applications
of the skills learned during the first
year technical and design strands.
Students will also continue to build
their theoretical knowledge and
understanding to support their
practical work with modules such
as Health and Safety, and Arts
Administration.
For the final year, students will be
using all the skills they have acquired
developing both personal and group
projects as a climax to their learning.
They will work as stage manager for
one of the school’s productions as well
as testing their skills working within a
professional company.
This will all be underpinned with
lectures in professional development
preparing for their exit into the
industry.
COURSE LENGTH:
3 years full-time
UCAS CODE:
W450
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POST GRADUATE COURSES
SECTION 8
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PgDip / PHYSICAL THEATRE
PgDip / MA ACTING
PgDip / MA VOICE PRACTICE
MA ACTING: THE BRITISH
TRADITION
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PgDip PHYSICAL THEATRE
1 YEAR FULL-TIME
Danièle Sanderson
Direct to the School, entry to course through audition
COURSE OVERVIEW
The PgDip in Physical Theatre offers an advanced, intensive, practical training for actors who wish to further
their skills in making work that is expressive and creative. It has at its core three elements vital to the creation of
physical theatre: movement analysis, voice and ensemble work. The students learn to develop their own physical
technique and presence in order that they can be as physically and vocally expressive as possible. They also develop
their ability to work with others and to be creative with space and flexible in time. From this strong base, students
practically explore various forms and styles of physical theatre from mask work, through clown, to physical
storytelling and object work. This learning is laboratory-based, exploring what each student brings to the process
and is aimed at making true discoveries, and increasing and enlivening each student’s physical imagination. While
the course is not based on one form or technique of movement or theatre, it has at its heart the principles of
Jacques Lecoq, Moshe Feldenkrais, Rudolph Laban and Vsevolod Meyerhold.
ENTRY REQUIREMENTS
Movement awareness
• Admission is by audition, but we
would normally require the
student to have completed a
degree course or equivalent in Acting, Theatre, Drama or Performing Arts, or to
have relevant professional
experience.
Students develop their own individual
movement technique and body
awareness involving balance, coordination, physical connection
and articulation and isolation. Other
areas covered are elements of
Feldenkrais technique, mime
and acrobatics.
• The course is also suitable for
professional actors seeking to
develop their physical, movement
and creative skills
Voice
Normally a maximum of 16 students
are enrolled onto the course.
Voice is an element in most of the
work and this class builds on the
basic technique of good vocal use and
deepens the understanding of the
connection between voice and body.
COURSE CONTENT
Ensemble
The course consists of three core
creative skills classes:
This develops students’ creativity;
working in space, time and with
fellow actors. Areas covered are
elements of Laban technique, contact
improvisation, group rhythm work,
element and animal work.
Running alongside these classes will
be extended laboratories in areas
that may include:
• Full mask
• Physical storytelling
• Clown and comedy
• Half mask
• Character
• Text and tragedy
• Puppetry and object theatre
All teaching takes place in the
morning. In the afternoon students
work on their own or in groups
creating work based on material
given to them by their tutors.
This work is then presented in
composition class and is talked
through and analysed. This enables
us to explore further the creative
process in conjunction with the
moment of performance. This
exploration continues into a final
project which is shown to the public
at the end of term.
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The course is run and taught by experienced
professional physical theatre practitioners who
can help develop a student’s own method and
approach to the work. Students are continually
asked to create and develop work, and by the
end of the course will understand the nature of
collaborative and devised work and be proactive
in making their own.
Students will be skilled in technique and
accomplished in making and devising physical
and performance work of a professional
standard. Throughout the course students are
encouraged to think and work both creatively
and professionally and are constantly advised on
professional opportunities.
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PgDip/MA ACTING
1 YEAR FULL-TIME
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Lise Olson
Direct to the School, entry to course through audition
COURSE OVERVIEW
This is a course designed for postgraduate students who wish to pursue a career as professional actors. The course
is aimed at students who have some theatrical or higher education experience. It is an extremely intensive training
process which demands an enormous amount of time, commitment and energy and is intellectually, physically and
emotionally challenging. The emphasis of the course is on rehearsal techniques and performance.
ENTRY REQUIREMENTS
• Admission is by audition, but
we would normally require a
degree course or equivalent, or
relevant professional experience.
• The course is also suitable for
professional actors seeking a
refresher course.
• The MA option is designed for
those with suitable academic
abilities.
Normally a maximum of 14 students
are enrolled onto the course each year.
COURSE CONTENT
The course averages 35 contact
hours each week. It progresses from
technical skills in the first term to
performance and career advice and
support in the third term. In the third
term a showcase is presented in
Birmingham and London to invited
agents, casting directors and other
professionals.
All classes are compulsory and are
subject to assessment, all modules
are taken into account for the
final differentiation of the award –
Distinction, Commendation, Pass
– to reflect the level of technical
ability achieved and the assimilation
of these skills into performance.
As the balance of the course
develops from technical skills to
performance, students move from
internal workshops to fully staged
public performances. In the first term
students participate in two internal
workshop productions performed
only to staff. In the second term two
further workshops are performed;
the first to staff and students, and the
second as a performance to invited
guests. In the third term the balance
of the course is predominately
performance-based. In addition,
students will receive career
management and technical classes.
Performances in the third term
include the showcases in London
and Birmingham, a fully staged
and supported production in one of
Birmingham’s professional venues,
a radio play and an introduction
to screen acting. MA students will
complete a fourth term, which is
their research project, as well as
studying research methodologies
throughout the year.
Master classes from industry
professionals such as directors,
casting directors and arts
management specialists (to name
a few) are given at various times of
the year. Sight-reading and audition
portfolio preparation are also
given, ensuring that students
are well-equipped to enter the
professional arena at the completion
of their training.
Graduates from the acting courses
work consistently in all branches of
performance. Recent graduates are
currently employed with The Royal
Shakespeare Company, The National
Theatre, The BBC and Independent
Television and in film (see Alumni
Section).
COURSE LENGTH:
1 year full-time (MA) / 9 months
(PgDip)
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PgDip / MA PROFESSIONAL VOICE PRACTICE
1 YEAR FULL-TIME
Alex Taylor
Direct to the School, entry to course through audition/interview
COURSE OVERVIEW
This course is intended for graduates who wish to undertake advanced studies in voice in order to pursue careers
as voice professionals, who seek specialised practice and study in voice and speech. Whilst the foundation of the
course is rooted in the principles of healthy vocal use, it will not focus on a particular system or regime. The course
has been developed with the support of the Royal Shakespeare Company (RSC) Voice Department and text based
work is at the heart of this course. The course will concentrate on an approach to working with language developed
by Cicely Berry. The course will also offer some opportunities to work with the singing voice as approaches to
spoken and sung text are becoming increasingly important for the voice professional. Birmingham School of Acting
also has a working relationship with the Voice Clinic of Queen Elizabeth Hospital, Birmingham.
ENTRY REQUIREMENTS
• This course is likely to appeal to
those who already have an
interest in and some knowledge
of voice: actors, drama graduates,
teachers, speech therapists,
singers and musicians with a
particular interest in vocal music.
• Candidates will normally possess
a first degree, performance
diploma or equivalent qualification.
• Candidates who do not meet the
above entry requirements, but
who possess an appropriate level of performance skills and professional experience will also
be considered.
Please see page 69 for Applicants
Guide: Professional Voice Practice
COURSE CONTENT
This course provides an opportunity
to study in depth the theory and
practice of working with the voice.
Sound theoretical underpinning
is provided by a study of anatomy
and physiology, phonology, and
voice pedagogy. Simultaneously,
the student develops their own
vocal instrument through a study of
practical voice work, practical work
on text, and singing. The student’s
teaching skills are developed through
micro teaching, teaching practice
and/or professional placements
within local theatres and regional
drama schools. The course also
develops independent research skills,
and in the final term of the course
the MA student produces a research
project/dissertation. The course will
feature guest lecturers from a range
of practitioners, including renowned
voice teachers and coaches as well
as laryngologists, speech therapists
and other voice professionals.
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The RSC will provide guest lectures and, for suitably
qualified candidates, a maximum of two placements
each year. Other students will gain experience through
placements within the Birmingham School of Acting,
local theatre companies and regional drama schools. An
emphasis is placed, in the first instance, on the individual
personal development of the student’s own voice through
practical work on voice and text (spoken and sung).
For the year 2010 the RSC will offer a fees-only bursary to
a suitable candidate.
The future careers of those who graduate from this
course will be wide ranging. Many may wish to become
voice teachers or coaches working within the realms of
actor training, or within the professional theatre and film
industries. Some may wish to develop their own private
practice. Some may wish to promote and to develop
voice work in the wider community, working in Higher
Education or seeking opportunities to promote voice work
in commercial or industrial fields. Some graduates may
choose to work in the primary and secondary educational
system, developing ways of working with language as part
of the English or Drama curriculum, informed by their
knowledge of healthy vocal use. Some individuals may
wish to specialise further as vocal coaches working with
the singing voice in the field of speech therapy.
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1 YEAR FULL-TIME
Alex Taylor
Direct to the School, entry to course through audition/interview
COURSE OVERVIEW
The MA Acting: The British Tradition seeks to widen the student actor’s understanding of the practice of acting and
its traditions in this country, and provides practical workshop opportunities for the student to research, through
study and practice, the particular skills and techniques associated with key stages in the development of British
theatre performance, such as Renaissance theatre, Restoration theatre, Melodrama and Social Realism. Students
will study modules taking them through key developments in the British tradition of theatre from the Middle Ages to the
modern day exploring a range of acting techniques.
ENTRY REQUIREMENTS
The course is designed for those who
already have an interest in and some
knowledge of acting: actors, drama
and performing arts graduates,
teachers of drama and/or performing
arts. The normal entry requirement is
a first degree in a related subject area
(e.g. Acting, Drama, Musical Theatre,
Performing Arts, English and Drama)
but potential students with a degree in
another discipline or with experience
in a related professional area would
also be considered.
• Candidates will normally possess a first degree, performance diploma or equivalent qualification.
• Candidates who do not meet the above entry requirements, but who possess an appropriate level of
performance skills and professional experience will also be considered.
COURSE CONTENT
This programme focuses on the
practical exploration of acting
styles through a series of
laboratory opportunities and
classroom exercises.
However, this is not a postgraduate
acting programme designed for
those with little or no previous
experience. Nor is it for those seeking
a basic training as a springboard to
professional life within the industry.
The course does not provide full
production opportunities, although
it does offer some workshop
production experience. This course
would be appropriate for those with
some significant prior experience in
acting, and/or training in drama or
theatre practice, who wish to extend
their acting skills and deepen their
knowledge and understanding of the
acting process in non-naturalistic
theatre forms.
MODULES INCLUDE:
• British Classical Play
• Comedy of Manners
• Popular Theatre
• Narrative, the Actor and the Audience
There will also be a final research
project which may be either practice
or dissertation based.
The course provides opportunities for
those with prior education or training
within the field of Drama, Performing
Arts or Acting, or with professional
experience, to explore, extend and add
to their knowledge and understanding
of the history of acting and their
experience of performance, and to
develop their performance skills. It will
appeal particularly to those who feel
that they have had little opportunity to
explore aspects of style as it relates
to performance and/or aspects of
the British classical tradition. It is
anticipated that students accepted to
the course will return to their existing
careers or proceed to further study
with additional performance and
research skills and knowledge.
Graduates of the course will return
to a broad range of careers in the
performance industry or in education
with additional skills and a clearer
understanding of how to work with
non-naturalistic material and with
plays with specific requirements of
style or period.
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68
APPLICANTS GUIDE : AUDITIONS AND INTERVIEWS
SECTION 9
BSA recognises that much rests upon the outcome
of your audition and works hard to ensure your
experience is a positive one. Members of both
academic and admissions staff will be available to
answer questions at all stages of auditioning. All
auditions are stewarded by full-time students who are
there to support and guide you through the process.
If you enquire any further information on auditions and
interviews at BSA, please contact:
Millennium Point
Birmingham
B4 7XG
T: +44 (0)121 331 7220
www.bcu.bsa.ac.uk
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BA (HONS) ACTING AND PgDip/MA ACTING:
AUDITION PROCESS: £40 (NON-REFUNDABLE)
Auditioning is a two-stage process – Initial and Recall.
This helps to ensure that you are given a fair opportunity
and that we have the best information on which to base
our choice of candidates. Hundreds of applications are
received each year and less than 7% of candidates gain
a place. However, those students who pass the Initial
Audition and attend a Recall Audition have approximately
a one in four chance of being offered a place.
INITIAL AUDITIONS
Initial Auditions take place from September through to
April (BA (Hons) course) and May (postgraduate course).
You should make sure you arrive in plenty of time for your
audition; if for any reason you will be late, please let us
know. We are aware that sometimes transport is delayed
– however, we expect you to arrange your travel to arrive
on time even if there is a reasonable delay.
WARM-UP SESSION
You will be given a short vocal and movement warm-up
with one of our current students. These do not form part
of the audition process; they are just an opportunity for
you to prepare yourself.
Please note: Outdoor shoes and stilettos are not allowed
in any of our studios, but jazz and character shoes are.
SPEECHES AND FEEDBACK
You will be asked to present two speeches to a panel of
two or more staff and/or professional actors. You will have
up to 10 minutes with the panel, who will provide verbal
feedback on your presentations, discuss your choice of
speeches and possibly your motives for attending drama
school.
You must prepare and memorise two contrasting
speeches, one from a play written in the last 20 years
and the other from an Elizabethan/Jacobean play. Each
selection should last no more than two minutes and
should be suitable for your gender, age and experience
(you may be stopped if your speech exceeds two minutes).
All speeches should be from published plays. Excerpts
from film script, television dramas and unpublished plays
are not acceptable unless you can provide at audition, and
leave with us, a copy of the actual and complete script
with the speech used clearly marked.
You should have read the whole of the play from which
a speech is taken and be able to provide the correct
title, name of the author and, if relevant, the translator.
You may be asked questions about the play and your
character’s journey within it (i.e. their motives etc).
It is preferred that the content of the speeches should
be something to which you can relate and understand.
It is not advised that you attempt an accent unless you
are entirely confident of its accuracy and only if it is
appropriate to the speech.
Any performance choices you make should be justifiable
within the text. The performance should reveal an
understanding of the scene and character and an
ability to create and share appropriate emotions and
atmosphere. Try to make sure that any vocal and physical
interpretation you do is strictly relevant.
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INTERNATIONAL APPLICANTS: DVD SUBMISSIONS
CRITERIA FOR INITIAL AUDITION ASSESSMENT
If you live outside the UK you can undertake an Initial
Audition via multi-regional format DVD. You should
present your speeches in English to camera and perform
them as you would in a live audition, using the guidelines
provided. Please ensure that we can see the whole of your
body – it is not necessary to provide close-ups or produce
an edited piece of television, but you should ensure that
the sound quality is sufficient for us to make an accurate
assessment of your voice.
The assessment of each candidate is based upon a set of
criteria used consistently by staff, who comment on and
mark the work shown.
You should supply the title, author and, if relevant,
translator details with your speeches. You may also make
a short statement (no more than three minutes) about the
pieces – a brief résumé of the plays and characters, and
what happens immediately before and after the scenes
presented. You may also include a brief statement in
support of your application. The audition application form
must accompany your DVD. The audition fee is payable in
pounds sterling and must be included with the DVD or in
advance by credit card over the telephone.
SPEECHES CRITERIA:
• Energy
• Choice of speeches
• Spatial awareness
• Suitability of physicality
• Identification with character
• Achievement of contrast
• Creation of environment
• Use of voice and handling text
• Power to hold an audience
• Potential for training
DECISION ON INITIAL AUDITION
The panel, guided by the Course Director, will make
a decision whether to offer you a Recall Audition.
You should receive confirmation by post of the result
of your audition within 14 days of your Initial Audition.
If you have not heard within 21 days please contact the
Admissions and Student Services Manager. Decisions
for international students applying via DVD may take
longer, but you should hear within 30 days of our receipt
of your application.
Should you fail to be offered a Recall Audition you can reapply for the following academic year.
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RECALL AUDITIONS:
Preparation
Workshop
The Recall Audition normally takes a full day and consists
of an acting workshop, voice and movement assessments,
the presentation of two speeches, a song and a reading to
camera. You may be interviewed by the Course Director or
his/her representative.
The morning session is with the entire group of
candidates and begins with a physical warm-up. This is
followed by an improvisational acting workshop which is
observed by members of the teaching staff.
You may repeat the speeches used at your Initial Audition
or select new material. As in the Initial Audition the
speeches should last no more that two minutes and
should be suitable for your gender, age and experience.
Please prepare an accompanied song lasting no more
than three minutes and suitable for your gender, age and
vocal range. Piano accompaniment is required and the
sheet music must be provided in the right key.
Please note that your performance will be stopped if your
speeches or song exceed the stated maximum length.
You will be sent a medical form to be completed and
returned prior to the Recall Audition. It is vital that
you are honest when completing the medical form
– the information you provide will not prejudice your
application, but will help us to make a full assessment of
your performance during the day.
If you wish us to take dyslexia or dyspraxia into account
at your Recall Audition you must bring with you a copy
of your assessment/report confirming the condition and
hand it to the Admissions and Student Services Manager.
We may also write to your referee for a statement.
We look for the candidate’s ability to work as a member
of a team, access their imagination, propose ideas, listen
and respond to stimuli, and demonstrate transformational
skills. Members of the acting and movement staff will
assess the workshop.
As the workshop is extremely physical, it is recommended
that you bring comfortable and appropriate clothing;
jeans or tight fitting clothes are not appropriate. The
work will be undertaken barefoot. Long hair should be
tied back, so as not to cover the face. Tight belts, belts
with buckles, clothes with prominent zips – all of which
may be dangerous – should not be worn. Trousers should
be waisted and not slip down to the hips and leg length
should not drag on the floor. Tops should cover the
cleavage and stomach areas. These requirements are in
accordance with the school’s dress code.
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Speeches
Interview/Meeting
The delivery of speeches takes place in two groups. The
speeches should be from published plays. Excerpts from
film scripts, television dramas and unpublished plays
are not acceptable unless you can provide at audition,
and leave with us, a copy of the actual and complete
script with the speech used clearly marked. You should
have read the whole of the play from which a speech is
taken and be able to provide the correct title, name of the
author and, if relevant, the translator. You may be asked
questions about the play and your character’s journey
within it (ie their motives, the play’s content etc.)
In certain instances, the Course Director or his/her
representative may interview you, to gain a better
understanding of you and your motives for wishing to
attend drama school. A voice tutor may wish to see you
to assess more fully your vocal potential. There will also
be a group meeting with the Registrar or Admissions
Manager for clarification of any funding or course queries
you may have.
It is preferable that the content of the speeches is
something you can relate to and understand. It is not
advisable to attempt an accent unless you are entirely
confident of its accuracy and only if it is appropriate to
the speech. Any performance choices you make should
be justifiable within the text. The performance should
reveal an understanding of the scene and character and
an ability to create and share appropriate emotions and
atmosphere. Try to make sure that any vocal and physical
interpretation you do is strictly relevant.
Reading
The reading may be performed to camera, using text
supplied by us; you will be given preparation time.
Song
The song will be performed alone to a senior singing
tutor. As with the acting selections the song should be
a published work, with piano accompaniment. We will
provide a pianist. Sheet music must be provided in a
suitable format for the pianist to use. We are interested
to see how you interpret a song and its content. We
appreciate that some candidates are not experienced
singers but we do not believe that this stops anyone from
expressing the style and content of a song. It is important
that you choose a song suitable for your voice, gender and
age. The singing part of the assessment may begin with a
group warm-up.
Please note that audition feedback is not given on
Recall Auditions.
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CRITERIA FOR RECALL AUDITION ASSESSMENT
The assessment of each candidate is based upon a set of criteria used
consistently by staff, who mark the work shown. In Recall Auditions all elements
are assessed including speeches.
SPEECHES CRITERIA:
• Energy
• Choice of speeches
• Spatial awareness
• Suitability of physicality
• Identification with character
• Achievement of contrast
• Creation of environment
• Use of voice and handling text
• Power to hold an audience
WORKSHOP CRITERIA:
• Focus and concentration
• Physical co-ordination
• Ability to transform
• Proposing of ideas
• Sensitivity to group
• Fulfilment of instruction
• Physical confidence
• Response to stimuli
• Accessing imagination
• Listening and responding
SONG CRITERIA:
• Presentation
• Rhythm
• Overall performance
• Level of technical achievement
• Characterisation
• Energy
• Sense of style
• Communication
• Tuning/sense of pitch
READING CRITERIA
• Fluency of reading
• Spontaneity of reading
• Comprehension of content
• Ability to communicate the text to
the camera/listener
If you require any further information
about auditioning at BSA please contact
the Admissions and Student Services
Manager (see page 69)
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PgDip PHYSICAL THEATRE
Audition process: £40 (non-refundable)
The audition will start with a group warm-up and
movement class, followed by an improvisation session.
There is no need to prepare anything.
Later there will be a short interview where we can find out
about you and why you want to be here. There will also
be an opportunity for you to ask us about the course and
what we do.
As the workshop is extremely physical, it is recommended
that you bring comfortable and appropriate clothing;
jeans or tight-fitting clothes are not appropriate. The
work will be undertaken barefoot. Long hair should be
tied back, so as not to cover the face. Tight belts, belts
with buckles, clothes with prominent zips – all of which
may be dangerous – should not be worn. Trousers should
be waisted and not slip down to the hips and leg length
should not drag on the floor. Tops should cover the
cleavage and stomach areas. These requirements are in
accordance with the school’s dress code.
PgDip /MA PROFESSIONAL VOICE PRACTICE
Interview process: £40 (non-refundable)
As the intake for the course is restricted to 12 students
each year, entry is by audition and interview. For the
audition, candidates are required to prepare and present:
• A Shakespeare sonnet
• A two-minute speech in verse from an Elizabethan/
Jacobean play OR a musical theatre song (the school
will provide a pianist. Sheet music must be provided in
a suitable format for the pianist to use).
The audition will be followed by an interview with the
Course Director where you will be invited to discuss:
• The way you have approached your prepared pieces
• Why you are interested in the course
• Your research interests.
80
Interview process: £40 (non-refundable)
As the intake for the course is restricted to 12 students
each year, entry is by audition and interview.
You should prepare two speeches for the audition:
• A two-minute speech in verse from an Elizabethan/
Jacobean Play.
• A two-minute speech from a British play written
between 1740 and 1950.
The audition will be followed by an interview with the
Course Director where you will be invited to discuss:
• The way you have approached your prepared speeches
• Why you are interested in the course
• Your research interests.
International students may submit an audition on video,
and then may be asked for a phone interview.
BA (Hons) COMMUNITY AND APPLIED DANCE
THEATRE
Interview process (no fee)
The interview process gives you the opportunity to talk
to us about who you are, tell us more about your interest
in the course, see the space that you will be working in,
meet some of the people who will be teaching you and
to ask questions about the course. You may be asked to
participate in a short workshop or a practical exercise.
Applications can be made direct to the school or through
the UCAS system. If applying through UCAS the course
codes are:
BA (Hons) Stage Management: (W450)
BA (Hons) Community and Applied Theatre: (W490)
BA (Hons) Community and Applied Dance Theatre: (W590)
Institution Code: Birmingham City University B25
81
82
FREQUENTLY ASKED QUESTIONS
SECTION 9
AUDITIONS
DRAMA SCHOOL AND TRAINING
83
84
Auditions
What sort of pieces should I choose for my audition?
You need to find pieces that you like and to which you can
relate emotionally and intellectually. Look for characters
and speeches which reflect your experience of the
world. Be careful not to do ‘disguise’ acting by choosing
something which requires a funny walk or strange voice, or
a character that is much older than you.
Can I cut a monologue together from a scene,
omitting other characters’ lines?
Yes – as long as the cut version makes sense. There’s no
such thing as a monologue – what you hear in soliloquy
is always one half of a dialogue, either with yourself or
someone else. Don’t cut together lines from different
scenes – that won’t make sense – and always acknowledge
the ‘other’ person.
Could I choose a piece from a monologue
anthology book?
Monologue books are really useful for helping people who
don’t have a broad knowledge of repertoire to begin to
look for ideas. The danger is that people find a speech in
a monologue book, learn it, and study no further. (Many
books are full of American pieces, the full text of which
cannot be acquired in the UK, and some of these are
purpose-written audition speeches. The other danger with
American pieces is that they are culturally way outside the
experience of many applicants.)
Another problem is that many of the speeches in
monologue books are very well known. You must
always select a speech from a full play (which has been
published), and read the whole play to understand context
and allow that knowledge to inform your work.
85
Can I perform a poem as part of my audition?
Can I perform a piece with an accent at my audition?
Not really – few poems give you the scope to explore a
character and his emotional journey in the same way as
play text does.
If you are fluent in the accent, if it is your native accent
or you speak it like a native, and it is appropriate to
the character, then yes. However, if it is an add-on, or
potentially distracting, or if it is likely to disguise you or
obscure your real voice, then don’t do it. Funny voices come
into the same category as funny walks – they do not help
you in an audition, where we want to see you, not someone
else! Also remember – Received Pronunciation (RP) or
Standard English is a 19th century invention, and did not
exist when Shakespeare wrote – so if in doubt, do the
classical speech in your own voice, not RP.
Are there some timeworn pieces that one
should avoid?
Yes! Especially in the classical range, and some pieces
from audition books. Avoid material like Victoria Wood
monologues, Alan Bennett’s ‘Talking Heads’ and pieces
which are identified with celebrated performances.
Can I choose a piece from a television or film script?
If the speech really stands up and works in its own right,
then it is perfectly acceptable. However, there are so
many factors which influence screen writing that often
a text which seemed amazing in situ just doesn’t work
when taken out of context. Avoid pieces which are strongly
identified with an actor or performance: Söze from ‘The
Usual Suspects’ for instance.
How long do my audition pieces need to be?
Absolutely no more than two minutes. Ideally somewhere
between one minute 40 and one minute 50 seconds. Let’s
face it, if the first 10 seconds did not really grab the panel’s
attention, going on beyond one minute 30 seconds is not
going to improve the situation. You will be stopped if you go
beyond two minutes.
Do not get hung up on the idea that you need to make an
audition speech tell the whole story of the play. A good
speech will enable you to give a real insight into a moment
in the character’s life, just as if a window were briefly
thrown open, we glance inside, and then the window closes
again. That moment is clear and perfect, even though we
do not see what just happened, or what happens next.
Will furniture be available in the audition room?
Yes. A table and chair will be available in each audition
room – but remember, if you have an unseen person in a
chair, don’t put an empty chair in the middle of the stage,
otherwise the scene will become one about an empty chair.
What about props?
Unless a prop is absolutely essential – a letter, or a ring –
then don’t bother. If you will need a prop, make sure that
you bring it with you, and that it is something with which
you are familiar so that you are not thrown by a strange
object. However, do not bring a whole suitcase of bits and
pieces with you. We are interested in seeing you, not seeing
how clever you can be juggling a load of utensils you have
retrieved from the loft.
What about costume?
Exactly the same things apply. An indication of costume,
appropriate shoes, shirt or skirt to assist you is fine, but
again – we want to see if you can connect to the character
and tell us their story, not see whether you can disguise
yourself in the externals of performance. Whatever you
wear should be comfortable, and supportive of your work.
Think about the style and weight of your shoes – fashion
heels are not suitable.
86
What level of dance ability do I need to demonstrate?
We do not require you to have any particular level of
attainment as a dancer, but we do require you to have an
ability to be trained in free and co-ordinated movement
with a good neutral posture. This potential is assessed in
the workshop element of the Recall Audition.
Will I get feedback after the audition?
Yes. After your first audition you will receive short,
constructive, verbal feedback comments from the
audition panel. They may share with you their ideas about
the choice of pieces you have offered, and may make
suggestions about how these might be improved, or upon
how they feel that you should proceed. During the Recall
Audition you will receive a voice assessment. No further
discussion will take place as to why you may, or may not,
have been offered a place.
How good a singer do I need to be?
At audition we look at your ability to communicate through
text, whether that text is spoken (verse, the heightened
language of comedy of manners, or contemporary text) or
sung. Do not worry about lack of experience, many people
come to us having never sung before and discover that they
have a wonderful voice. What matters is that you can tell
the story, reveal the character and inhabit the language.
How do you deal with applicants with disabilities?
We are committed, wherever practical, to developing
opportunities for all students whatever their physical
ability. Please state on your application form any factors
you wish us to take into account at audition. Please contact
the Admissions and Student Services Manager before
your audition regarding any special requirements. If you
wish us to take dyslexia or dyspraxia into account at your
Recall Audition you must bring with you a copy of your
assessment/report confirming the condition.
87
DRAMA SCHOOLS AND TRAINING
Why drama school?
Will I be rich and famous?
Drama covers an array of careers and work options.
However, the career paths of some graduates lead to a
variety of related work – such as for Fay Rusling who has
combined a successful career as an actor with that of a
writer for productions including Smack The Pony and The
Green Wing. Some have gone on to set up their own theatre
or media companies, become agents or casting directors,
or work in film or television production.
There has always been a concern that pursuing a career
as an actor will not lead to employment, or at least not to
a ‘proper job’. The truth is that not everyone can be a star
and becoming an actor may not guarantee great wealth,
but many of our graduates are working professionals with
long careers. It is true that much of the employment is
freelance and there can be uncertainty about where the
next contract will come from. However, the desire to act,
and the personal rewards of doing something that inspires
you, can be immense.
Do I need to train?
There are successful actors who did not attend drama
school, but a Manpower services report found that 86%
of working actors had received professional training.
Attending a drama school is seen as increasingly important
in developing a sustainable career across the breadth
of the profession. The training on courses at specialist
institutions like BSA not only includes the components
of acting but also provides career advice and support in
finding work and an agent – which can make the difference
between success and failure.
Do I need a qualification to be an actor?
The simple answer is no, but professional vocational
training does make a significant difference and a degree or
diploma higher education qualification will help whatever
your eventual career path.
BSA decided to gain vocational higher education
qualifications for its courses because we recognised
that the training we provide is just as rigorous as more
academic courses. The intellectual understanding of
our graduates, demonstrated and assessed through
performance, is equal to that of students assessed through
writing and exams. Our courses require many more contact
hours than the majority of academic degree courses or
further education performing arts courses.
88
HOW DO I DECIDE WHICH COURSE AND SCHOOL
IS FOR ME?
BSA training is professional and vocational. It is in our
interest that students are on the right course in the right
school – we need you to make an informed choice.
The key factors in making a choice we believe are
between:
• academic and vocational courses, and
• the professional recognition of different vocational schools and courses.
Academic vs vocational
Both academic and vocational courses can offer degrees,
diplomas and postgraduate courses. The difference is the
amount of practical work and the focus of the course.
Academic courses offer either purely theoretical or a mix
of theoretical and practical work, but are focused on an
academic investigation of their subject largely assessed
through written work.
Vocational courses are focused on the practical application
of the subject assessed in performance. These differences
are shown in the amount of performance work. It is a
mistake to consider that being assessed in performance is
easier; BSA courses are rigorous and very intensive.
Drama school vs university or Further
Education (FE) college
The professional recognition of a vocational course is
important, a fact acknowledged by government, which
provides funding for BSA undergraduates. This is a
significantly higher level of funding per student than
non-vocational university and FE drama or performing
arts courses receive. There are a large number of private
drama schools which do not receive funding or have
accreditation; these schools are not subject to the same
rigorous quality checks required by NCDT (National
Council for Drama Training) or universities.
Drama schools which are members of CDS (Conference of
Drama Schools) and whose courses are NCDT-accredited
are recognised and supported by the profession.
Universities, FE colleges and non-accredited drama
schools do not have the same standing in the profession.
How do I get a place on a course?
All CDS schools and NCDT-accredited courses require
that you pass an audition to gain entry to an acting
course. At BSA we audition all applicants who meet, or
will meet, the entry requirements by 1 September in the
year of enrolment.
Can I apply through ucas?
Applications for the BA (Hons) Community and Applied
Theatre, BA (Hons) Community Applied Dance Theatre
and BA (Hons) Stage Management degrees can be made
direct to BSA or through UCAS. Applications for the BA
(Hons) Acting and all postgraduate courses must be made
direct to BSA.
For further FAQs on auditions, BSA, its courses and more
please visit the FAQ section of our website:
www.bsa.bcu.ac.uk/About_BSA/FAQ/
89
90
How to find us
HOW TO FIND US
Our main site is located at Millennium Point, Eastside,
Birmingham.
WALKING
Directions from Birmingham New Street
and Bullring
Millennium Point is 10-15 minutes’ walk from
Birmingham New Street station. Exit the station on
ground level and bear left. At the end of the road turn
left, follow the footpath which will take you up a ramp to
the main Bullring concourse – carry straight on down the
ramp to the other side of which will bring you onto Moor
Street Queensway. Turn left here and follow Moor Street,
then turn right onto Masshouse Lane. Take the second
right onto Albert Street and continue to Curzon Street.
The pedestrian route is at ground level throughout its
quarter mile (look for sign posts to Millennium Point).
BY CAR
From M6 South or North West
Leave M6 at Junction 6 and follow the A38(M). Follow
signs to City Centre, Bromsgrove (A38). Keep to the left
and take the 2nd exit (signposted ‘Ring Road’) up to
Dartmouth Circus. At this roundabout, take the 1st exit
Travel down the A4540 and at the next roundabout go
down Jennens Road. Turn left on to Howe Street (2nd
left) to access Millennium Point and car park, (you cannot
enter the car park from either Albert Street or
Curzon Street).
From M40 Oxford and South
Arrive on the M42 and travel north towards the M6. Travel
north on the M6 leaving at Junction 6 (follow directions
from M6 South and North West).
From M42 East Midlands
Join the M6 heading towards Birmingham Central and
leave the M6 at Junction 6 (follow directions from M6
South and North West).
91
TO M6 J5
TO M6 J7
TO M5 J1
TO M6 J6
WALSALL
BIRMINGHAM
SCHOOL OF
ACTING
(MILLENNIUM POINT)
TO M5 J2/3
TO M42/M40
COVENTRY/
WARWICK/
STATFORD/
NEC/ BIA
MOTORWAY MAP
TO M5 J4/M42 J1
WARWICK COUNTY
CRICKET GROUND/
CADBURY WORLD
MANCHESTER/
NW
M42
M6
1
A41
M5
6
EAST
MIDLANDS
A38
M6
A45
A456
6
3
A34
M42
A38
BRISTOL/
THE SW
4
1
M42
4
M40
OXFORD
LONDON
92
ACKNOWLEDGEMENTS
Prospectus designed and produced by the Marketing and
Communications Department
Print: Sterling
SUBJECT PROSPECTUS SERIES
Birmingham Institute of Art and Design
Business School Undergraduate
Business School Postgraduate and Professional
Birmingham Conservatoire
Computing
Construction and the Built Environment
Education
Engineering
Health
Humanities and Social Sciences
Law
Media and Multimedia Undergraduate
Media and Multimedia Postgraduate
TO ORDER A PROSPECTUS PLEASE CONTACT:
Birmingham City University Choices, Course Information
and Guidance, Perry Barr, Birmingham, B42 2SU
t: +44 (0)121 331 5595
e: [email protected]
Discover more at www.bcu.ac.uk
93
Disclaimer Information
LEGAL:
EQUAL OPPORTUNITIES:
This information is intended as a general guide to the
University’s courses and facilities and forms no part of
any contract between you and the University. Although
reasonable steps are taken to provide the courses
as described, the University cannot guarantee the
provision of any course or facility. Any course may be
altered or withdrawn owing to circumstances beyond
the University’s control. It is strongly recommended that
prospective students contact the (relevant) faculty to
obtain the most up-to-date course information. For full
terms and conditions please log on to:
www.bcu.ac.uk/web2/misc/legal.html
Birmingham City University promotes equality of
opportunity in respect of every aspect of its provision.
University policy and practice will seek to provide an
environment that is free from discrimination against
students, staff and others. The University and its staff will
ensure that all prospective students are treated solely on
the basis of their merits, abilities and potential.
DISABILITY:
Birmingham City University’s Disability Service aims
to enable students with disabilities or learning support
needs to make the most of their time at university,
whether they have a physical, sensory or hidden disability,
mental health difficulties or specific learning difficulties.
In order to help you plan and prepare for university life,
we have a range of services and equipment which can be
made available to you.
At Birmingham City University we think it is important
that you feel you can tell us about any disability you may
have. We regard disclosure of a disability as a positive
step, because once we are aware of your disability we can
then try to support your individual needs.
If you have not made us aware of your disability or you
feel you may have a disability please contact the Disability
Service on 0121 331 5128, or email [email protected]
The University will seek to prevent discrimination on
the grounds of race, colour, ethnic origin, nationality,
religious belief, gender, sexual orientation, disability, age,
marital status, family circumstances, citizenship, social
and economic status, or any other irrelevant individual
differences.
For full details of the University’s Equal Opportunities
Policy please log on to www.bcu.ac.uk
Millennium Point
Birmingham
B4 7XG
T: +44 (0)121 331 7220
www.bsa.ac.uk
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Notes
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96
Notes

community and applied dance theatre

Transcription

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