1 - The Liverpool Institute for Performing Arts

FOR PERFORMERS AND
THOSE WHO MAKE
PERFORMANCE
POSSIBLE
THE PLACE
THE PATHWAY
THE PROGRAMMES
THE PASSION
TAKE YOUR PLACE 2013
Back stage in our Paul McCartney Auditorium, you can see some of the
integrated roles needed to make a performance happen.
Left to right:
Charlotte Briggs providing stage management (learning Theatre and Performance Technology)
Thomas Robinson working on lighting (learning Theatre and Performance Technology)
Steph Marziano working on live sound (learning Sound Technology)
Simeon Scheuber will be playing in the pit band (learning Music)
Stevie Mahoney will be performing (learning Dance)
Onai Bikishoni working on the costume (learning Theatre and Performance Design)
Niall McGuinness working as a manager (learning Music, Theatre and Entertainment Management)
Katie Scott working on stage painting (learning Theatre and Performance Design)
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Contents
The Place
What was our challenge and what is yours?
How did we respond to the challenge initially?
Hearing from the best
What do we do now?
Our curriculum
Our teachers
Our resources
Do we meet the challenge?
Will you join us?
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14
An international outlook
Student support
Doing your own thing
Life in Liverpool
Where you live
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The Programmes
Foundation Certificates
Acting and Musical Theatre
Commercial Dance
Popular Music and Sound Technology
Degrees
Acting
Community Drama
Dance
Music
Music, Theatre and Entertainment
Management
Sound Technology
Theatre and Performance Design
Theatre and Performance Technology
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The Pathway
Entry requirements
How and when to apply
What happens after you have applied
What it costs
How to find us
Open days
Supporters
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Our Founding Principal/CEO, Mark Featherstone-Witty, explains what we do and
what we can offer you from this page to page 14
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What was our
challengeand
what isyours?
Sustained work for performers
and those who make
performance possible.
This was the challenge that started
our creation 18 years ago… and
remains the challenge. It’s your
challenge too: how can you spend
your working life being paid for what
you are passionate about?
Howdidwerespond
to the challenge initially?
1. A third-year
dance
performance in
the Paul
McCartney
Auditorium
2. Mark
FeatherstoneWitty, our CEO
and Founding
Principal
pictured with
Paul McCartney,
our Lead Patron
3. One of our
students
performing in a
gig in our café
We approached the survivors – performing arts people who had made their
mark and sustained a working life. Some were giants. They were asked to
identify the essential skills that helped them survive; skills often learnt the
hard way, because they learnt without the benefit of a place like ours.
Their observations and advice helped us create and focus the curriculum.
Pre-eminently, there was Paul McCartney. With his backing and spending
some £20m, we transformed his old school into a higher education institution
dedicated to performers and those who make performance possible.
‘‘
I know a fair amount about working in music and there’s
much more to it than writing and performing. There are
many jobs that need to be done to bring any creation to people –
design, production, management and marketing are just some of
them. We know there are many forms of success. Supporting
performance, there is a breadth of employment, which generally
isn’t recognised. When we worked on our approach, we wanted to
bring a variety of skills together – which is what we have done.
Paul McCartney
‘‘
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Hearing from the best
Some of the 120 leading practitioners, who participated in our initial survey, became our Patrons.
The full list is on the inside back cover. Here are some observations we took to heart:
Joan Armatrading
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“I wish I had some training, because it would have made life
easier. If there had been training, I would definitely have
gone for it in both the guitar and the piano. Understanding
contracts is very important. I signed my first contract but I
couldn’t tell you any part of what I signed. Everyone had the
knowledge and they kept it to themselves.”
Sir Cameron Mackintosh
“As a theatre producer, working internationally, it has struck
me that not every nation realises the importance of the
entertainment, leisure and cultural industries. Most people in
England, for instance, would be surprised to learn that show
business is one of our largest exports. It is clear to me that our
industry increasingly needs artists who are versatile enough to
cope with the exceptional demands of current shows, my own
amongst them.”
Sir George Martin
“I’d like students to be aware of what other people do, to
integrate, to interplay with them. I think the reaction of one
person with another in live music is one of the most important
things of all. A common understanding between everyone in
the music business is essential. I think the recording engineer
must appreciate what it’s like being a musician; the musician,
similarly, must understand what it’s like being an engineer.
I think if they have an appreciation of what each other does,
then they’ll work better together.”
The advice continues. Once we opened
our doors to students, we kept the
dialogue going with leading
practitioners who have been
contributing to our students’ learning by
participating in or leading classes.
We’ve recognised many of their
contributions by making them
Companions or Honoured Friends. You’ll
find the full list on the inside back cover.
Patrons and Companions aren’t the only
people who have contributed. Every year
significant people give one-off master
classes and once again you’ll find the
full list on the inside back cover.
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8
Companions
1. Will Young
2. Ann Harrison,
Entertainment
lawyer
We also have Associates attached to
each discipline we teach, who advise us.
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3. Trevor Horn, Music
producer
4. Thelma Holt,
Theatre producer
5. Joe McGann, Actor
6. Ralph Koltai,
celebrated theatre
designer
Master classes with:
7. Matthew Bourne
8. Sir Ian McKellen
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Whatdo
wedonow?
After all that consultation and continuing dialogue,
we could see that we needed to get three things
right: a unique curriculum, engaging teachers
who you would want to be taught by and providing
industry standard resources.
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Our curriculum
It is unusual to talk about a single curriculum when we teach eight
disciplines, but this makes us special, as is the way that we integrate
these together within an overall curriculum.
A STUDENT’S VIEWPOINT
“Every project here incorporates people
from a range of disciplines. It’s always
exciting to be part of something that many
people have come together to create.
There’s so much collaboration and you can
always get involved with projects and
develop new skills beyond those you’d
normally learn in your own subject area.”
Andrew Josephs, 3rd Year BA (Hons)
Sound Technology
What does this mean? It means regardless of the discipline you most want to
pursue, you will be sharing your learning with students studying other disciplines.
The key word is collaboration. We believe we have taken collaboration further than
anyone and it’s this which makes us distinctive.
Collaboration in practice. Every performance event requires performers, light,
sound, design and build and promotion. Invariably this means a team, a team
working constructively together to achieve a shared goal – the show. The skills
needed to mount a show are different and yet important. Aside from shows, there
are many other performing arts projects to collaborate on – from running a radio
station to organising performance art installations.
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Since everyone plays a vital part, it’s
inappropriate for sets of people with specific
skills to treat the others as if they are relatively
unimportant. Everyone contributes, so everyone
deserves parity of esteem. That is why we say
we exist for performers and those who make
performance possible.
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So, for example, if you are a sound technology
student here, you have musical talent to work
with and in turn, if you are a musician, you have
engineers and producers at hand. Bands need
managers and performances need promoters.
This collaboration reflects the professional
world you will enter when you leave us. If you
learn how to collaborate when you are with us,
making inevitable mistakes, you gain the
experience you need for when mistakes can
affect a career.
Let’s take another example: indie rock pop trio
The Wombats. It’s not only the three musicians
that formed the band that met here: they also
met their manager, their tour lighting designer,
their front of house engineer and their tour
manager: all were students on making
performance possible programmes.
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It makes sense when you are learning, for
example, about group dynamics, that you learn
alongside other students who are specialising
in other disciplines. So, where this is justified,
you will learn and understand in the company
of the whole range of people who make a
performance.
A STUDENT’S VIEWPOINT
“Throughout my time at LIPA, I've grown
both as a person and as an actor. LIPA has
provided me with the tools I need to enter the
industry confident in my abilities as a
practitioner, competent as a collaborator who
can work effectively with those from different
skill areas. The staff are lovely! So helpful and
approachable (even the café ladies put a smile
on your face). My experience has changed me
for the better, and for that, I am eternally
thankful.”
Michael Fletcher, 3rd Year BA (Hons)
Acting
Show business. These two words
describe the heart of the performing
arts world. It’s a show and it’s
business – which is why you,
regardless of your discipline, will learn
how the business works, both in your
discipline and more broadly. When we
talk about work, we don’t just mean
being employed by other people. You
may decide to start your own
enterprise so you need to be prepared
not only to search for employment,
but also to create your own.
Contact with the business. The
potential for networking here is a
major attraction. Everyone who
studies here wants to work in the
performing arts. Some of your fellow
students will become your work
colleagues in the future, some may
represent you or find you work or put
you in touch with others who can.
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Many of our graduates are also in
positions to help you into employment
too. In your second year, you’ll experience
a See Me Now event; the chance to listen
and interact with recent graduates.
We bring in professionals. Some give
one-off master classes, some lead
seminars and workshops and some may
provide extended teaching on one of your
performance projects. You could find
yourself taking direction from a
commercial dance choreographer or a
West End director. We bring in casting
agents and talent scouts from record
labels. As a performer, you will have the
opportunity to showcase your skills to
agents and potential employers in your
final year. This leads to representation and
jobs. Work placements for those on the
making performance possible
programmes can often lead to jobs, when
you leave.
1. A Theatre and Performance
Technology student fitting a
radio mic on an Acting
student during a technical
rehearsal
2. Sound engineers at work
during our production of Hair
3. The Wombats
4. Our performance of Cabaret
with dancers and musicians
on stage
5. The final-year Music festival
is a major annual
collaborative project between
students studying music,
theatre and performance
design and technology, sound
technology and management
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While you are with us. Performing arts
learning here offers so much more than
the chance to hone your technical skills
needed to succeed as a professional
practitioner. Our programmes are
designed with real-world requirements
for entrepreneurial abilities, self-reliance
and team working. We provide you with
knowledge and facts and encourage you
to continue to learn after you have left.
Such is the competition, that you will
need to consistently broaden your skills
in order to maintain a successful career.
In return, we ask you to recognise your
own responsibility for your learning
from day one. As well as capitalising on
opportunities and managing your time,
we expect you to contribute positively
to help us maintain a fair, supportive
and inclusive learning and teaching
environment, which welcomes diversity.
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When you leave. You will have the
ability to reflect, investigate, talk and
write confidently and knowledgeably
about the performing arts in general
and your own specialism in particular.
You will have benefited from our unique
blend of understanding by doing the
thing that you love and reflecting on it,
in a supportive and creative
environment.
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Our teachers
1. They Shoot Horses,
Don’t They? offered
ample creative
opportunities for
the set and costume
designers and prop
makers
2. Sally Rapier leading a
musical theatre class
with acting students
3. Andrew Hall teaching
a ballet class with
first-year dancers
4. Jim Faulkner leading
one-to-one guitar
tuition
We have a vibrant programme of
support from practitioners, who
provide master classes and workshops.
We also recruit permanent teaching
staff, who are qualified by both their
professional experience as well as their
teaching skills. Many stay active as
practitioners and have invaluable
industry contacts. On top of this, we
also employ a wide range of part-time
lecturers, who are working where you
want to be when you leave.
Our Acting staff have worked as actors, directors,
writers, musical directors and voice and
movement coaches both in the UK and the US in
a wide range of arenas and media. Maintaining
and updating professional practice is essential.
One of our teaching fellows is also a director of
Lodestar, an associate company of ours which
presents an annual Shakespeare Festival and
frequently employs our graduates, whilst another
was the director of the Global Search for New
Musicals. Our Industry Associates (Nickolas
Grace, Joe McGann and Jamie Lloyd) annually
contribute to our workshop programme. We also
have a wide range of visiting professionals
including agents and casting directors who
provide opportunities for Professional
Development throughout the programme.
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Our Community Drama team have
extensive experience as lecturers and
practitioners, incorporating a wide range of
community drama/theatre contexts.
This work includes leading major projects
across the UK, Europe and Africa, and
holding senior positions in companies such
as Citizen Arts UK, TIPP Centre, Pigeon
Theatre, Collision, Solent Peoples Theatre,
The Haymarket, BBC Education and The
Children’s Commission.
All of the Dance team have been
professional performers. Their experience
in the industry spans from world-class
companies such as Rambert Dance
Company and Hamburg Ballet to
performing in West End musicals.
In commercial dance, staff have
performed, choreographed or directed
music videos, musical theatre, cabaret and
other dance forms. Our visiting lecturers
are all working professional dancers,
choreographers and teachers. Many
acclaimed professionals from both the UK
and overseas also contribute master
classes or guest direct and choreograph
on modules and productions.
Staff within Music have had three top
twenty hit records in the UK as writers or
performers in the last ten years. Among the
lecturers are members of China Crisis and
The Farm. Since the 80s, they have toured
the world alongside some of the biggest
names in the industry, both notching up
sales of more than six million albums.
One of our singing teachers scored three
hits in the late 90s with trance band Lucid
and others have extensive experience in
performing, producing, promoting,
songwriting and composing. We employ over
20 music industry professionals to deliver
much of the vocal, instrumental and
ensemble tuition, including some of the
country’s top jazz musicians. We were the
first higher education institution to introduce
Speech Level Singing™ to the North West.
You will benefit from substantial input
from working professionals, including
graduates. Lecturers have Masters level
qualifications in a variety of fields
including Law, Management, Higher
Educational Leadership, Marketing and
Critical Theory.
Our Music, Theatre and Entertainment
Management team offer substantial practical
management experience and knowledge
gained in a wide range of areas including
managing artists, theatres, venues, record
labels, touring companies, festivals and small
businesses. The team continue to build and
maintain their knowledge and experience
through excellent links within the music,
theatre and entertainment industry.
The Sound Technology staff have a
breadth of experience gained both in
studio and live sound environments.
In addition to music production and
recording expertise, our staff have
specialisms in post-production for film
and TV, MIDI and Pro-Tools programming,
sampling and synthesis, broadcast
engineering, as well as electronics,
acoustics and maintenance.
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On the live sound side, staff
members have over 20 years’
experience of providing live sound
engineering and production services
for artists on tour, with credits
including The Pogues, The Prodigy,
Republica and Chumbawamba.
Our Theatre and Performance
Design and Technology staff have
extensive experience of working in
professional live theatre, music and
events and continue to work
professionally. Members have worked
with the RSC and National Theatre;
Teatro Real, Madrid; Opera North and
Royal Liverpool Philharmonic
Orchestra; Tron Theatre, Glasgow;
London Bubble; Liverpool Everyman
and Playhouse Theatre; Octagon
Bolton; Hampstead Theatre; Lyric
Hammersmith; Liverpool Royal Court;
Los Angeles and New York City
Opera; West Yorkshire Playhouse;
Tate Liverpool; Crucible Theatre
Sheffield; Hull Truck Theatre and
Scottish Opera. Wardrobe staff have
extensive theatre and BBC costume
drama experience and other external
professionals deliver specific skills
classes and mentor practical work.
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Our resources
We occupy a Grade II listed,
19th Century building,
which has been restored
and transformed into a
purpose-built performing
arts institute.
1. Mary Lamb supervising costume
design
2. The foyer area outside the Paul
McCartney Auditorium. The first
area that the public see when they
arrive to enjoy one of our shows
3. The view from the stage of the
Paul McCartney Auditorium
Performance spaces. We have two main
performance spaces used for productions
and teaching. The Paul McCartney
Auditorium (PMA) is a traditional
proscenium arch theatre with full
counterweight flying facilities. The PMA is
our largest performance space and can
seat over 400 people. The Sennheiser
Studio Theatre can hold an audience of up
to 96 people. Both spaces are flexible and
accessible and promote the right
ambience for all types of performance,
whether that is a music festival, a visual
feast of dance theatre, a Broadway-style
musical or a sumptuous costume drama.
Each year over 150 performances take
place between these spaces, about half of
these are to a public audience.
Both theatre spaces are fully equipped
and we have a large floating stock of
additional lighting, sound and video
equipment available for external
projects. We have also recently invested
in equipment that enables us to
transform our café area into a venue for
music gigs.
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Theatre equipment list. Thanks to
generous donations from sponsors such as
High End Systems and Sennheiser, plus our
own reinvestment, we have an everdeveloping kit list. This includes Martin
and Robe intelligent lighting fixtures, a
Wholehog 3, and Avolites Pearl lighting
consoles, plus six other lighting desks for
you to learn your craft on, along with a
Catalyst Media server and a number of
video projectors suitable for performance
use. We’ve just completed a four-year
major capital project, which has resulted in
a new installation of networked dimming
and lighting control from ETC, and are
currently awaiting delivery of a new ETC
Gio lighting desk. The spaces are also
equipped with current industry sound
equipment. Sound reinforcement is driven
by consoles from Soundcraft (GB8),
Yamaha (PM5D-RH, M7CL-48, DM1000,
LS9) and Allen and Heath (ML5000).
Loudspeaker systems include d+b, Meyer
and DAS. Outboard processing features
units from Drawmer, Yamaha and KlarkTechnic. The PMA is also served by a
Peavey Nion for system processing and
routing. We also have an extensive stock
of microphones, including radio
microphones and in ear monitoring
systems. AV equipment is also kept up to
date to facilitate a growing number of
multi-media performances.
A STUDENT’S VIEWPOINT
“Facilities and equipment available at
LIPA are state-of-the-art and very much
reflect today’s industry standards. The
equipment is always kept updated to
ensure we are at the forefront of the
industry and, most importantly, prepared
for our future careers.”
Thomas Robinson, 3rd Year BA
(Hons) Theatre and Performance
Technology
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Rehearsal spaces. There are a number of
spacious rehearsal rooms, which are
predominantly used for workshop-style
teaching and as rehearsal spaces in the
lead-up to performances. Some have their
own sound and lighting facilities.
Spaces for lectures, workshops and
seminars. We have lecture theatres and
airy seminar rooms for more traditional
style-teaching, with a range of
presentation equipment.
Stagecraft workshop. A large theatre
workshop, equipped with metalworking
and woodworking machinery, is located
behind the Paul McCartney Auditorium. It
is used to construct and paint the scenery
and props used in productions, as well as
being a practical teaching area for the
Theatre and Performance Design and
Technology programmes.
Costume and wardrobe. We have a
wardrobe department, where costumes are
planned, designed and created for up to 30
separate productions throughout the year,
which will normally include a wide range of
performance genres and contemporary
styles. There is a costume store that houses
a good selection of classic tailoring and
period fashion and also preserves samples
of student designs.
Management office. If you study
management, you have your own
dedicated space in which to operate. It
includes key communications tools such
as computers, a printer, fax machine, plus
a dedicated telephone line.
sponsors and manufacturers such as Orange
Amps, Fret King guitars, JHS guitars and
Zildjian, ensures numerous state-of-the art
instruments and equipment.
Learning Services. Our Learning Resources
Centre (LRC) offers a specialised collection,
which includes over 11,000 books and
directories, more than 7,000 CDs, plus an
extensive range of theatre and film DVDs,
scripts and musical scores. The majority of
resources are available for loan. The
collection includes relevant journals,
magazines and a careers advice section, in
addition to a variety of newspapers. There is
online access to a wide range of research
databases and other reference materials.
Our user-friendly online catalogue provides
the gateway. E-books and other electronic
resources are constantly being updated.
Colour and black and white photocopying is
available in the LRC, plus laminating and
spiral binding machines. There are digital
voice recorders, video cameras, plus DVD
and video players.
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Dance studios. Our dance studios are
based in our Hope Street facility. All have
specialist sprung floors and mirrors. There
is also a Pilates Studio equipped with
Pilates machines.
Music practice rooms. There are five large
band rehearsal rooms, eight small band
rooms, seven rooms set up with
piano/keyboards and two digital audio
workrooms. A variety of professional music
equipment can be borrowed including
vocal PA, drum kits, bass and guitar amps
and over 30 musical instruments.
Generous donations from a number of
1. Rigging the lights in the Paul McCartney
Auditorium
2. Room 4.24 is a rehearsal space, which is also
licensed for performances. It has its own lighting
equipment
3. The LRC has over 7,000 CDs from which to
choose
4. The stagecraft workshop is one of the main
areas used for set construction
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Outboard equipment includes items
from: Lexicon // Tc electronic // Drawmer
// BSS // Focusrite // Eventide // dbx //
Yamaha // Neve // Millennia // Manley //
Universal Audio // Empirical Labs
//Thermionic Culture.
Microphones. The extensive stock of
microphones include items from
Sennheiser // Neumann // Sony //
Schoeps // AKG // beyerdynamic // Shure
// ElectroVoice // Crown // Audio Technica
// DPA // Audix // Earthworks // Brauner //
Royer // AEA // sE.
Monitoring is catered for by Genelec //
Klein and Hummel // Coastal Acoustics.
We offer training sessions in study skills and ICT
skills. You can also have one-to-one sessions for
guidance on topics such as referencing, writing
skills, essay planning and online resources. These
are supplemented by ICT help slots and drop-in
sessions. There is also an ICT help desk in the LRC.
Our Virtual Learning Environment, Moodle, enables
you to access learning materials remotely, and on
the LRC website there are useful help sheets and
video guides to ICT and study skills.
We have industry-standard computer resources
running the latest productivity software on high
specification workstations. Many are based in the
LRC and there is also a separate ICT suite with a
colour A0 plotter. All of our PCs come with Microsoft
Windows 7, Microsoft Office and Project 2010 as
standard. We can also provide access to a range of
accessibility software, tailored to suit your needs.
Specialist software such as AutoCAD, Adobe
Photoshop, Sibelius, MindManager, WYSIWYG and
QuarkXpress are available on selected workstations.
All workstations provide free access to the Internet,
email and other electronic resources. There is free
WiFi access throughout our buildings.
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Recording studios. There are six
professionally equipped recording
studios. All of them support music
tracking and mixing to a high
standard, and some have additional
facilities for sound to picture
production, surround mixing,
mastering and editing.
in most studios and DTRS and 2-inch
analogue tape (Otari MTR-90) in the
central machine room. The Pro-Tools
HD systems are installed with a range
of plug-ins from Waves and Sonnox,
and a Pyramix/VCube system
enhances DAW capability in the
postproduction studio.
Studio kit list. All six recording studios
are professionally designed and
acoustically treated and isolated.
Consoles are currently: Audient
(ASP8024 36 channel and 24 channel)
// Yamaha (DM2000) // SSL
(AWS900+ and a 48 channel Duality)
// Digidesign (16 fader Icon with
Surround Panning Option). Our
standard multi-track format is ProTools HD, but we also support RADAR
Offline suites. There are 22 offline
workstations to complement the HD
systems in the studios. The offline
workstations are based around Mac
Pros. Each system runs Logic Studio,
Pro-Tools and a variety of software
synthesizers and samplers such as
Reason and Reaktor.
“ The gear at LIPA is
second to none.
You are working on
state-of-the-art
equipment from day
one – I haven’t seen
this anywhere else,
let alone in the
industry. ”
Andy McCluskey
Songwriter and music
producer
Broadcast audio. We have a fully
flightcased set of equipment capable
of being configured for a variety of
location broadcast applications.
This is based around a Soundcraft
RM1-D digital broadcast mixer,
communications and cue systems and
a range of playback sources including
a computer based playout and
scheduling system.
Mobile recording. In addition to the
recording studios, we also have a
mobile recording system with
microphone preamplifiers, monitoring
and routing based around a Pro-Tools
HD2 system. This is used for recording
on location (for example at Liverpool’s
Philharmonic Hall), or for recording in
some of the larger performance
spaces.
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1. Recording Studio 4 – one of the entry
level studios but still highly specified
2. Students working in a Digital Audio Lab
3. Technical rehearsals for The Boys in the
Photograph in the Paul McCartney
Auditorium
4. Sync and DV racks in Studio 2 – one of
two studios geared up for working
sound to picture
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Dowemeet
thechallenge?
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So, creating a unique whole institute
curriculum, engaging the teachers and
providing the resources, what’s been
the result? Have we managed to help
our graduates to achieve sustained
employment?
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1. Dance graduates Nicolette Whitley and Renako
McDonald, aka Alleviate, made it into the top 3
acts in the finals of Sky1’s Got To Dance in
2011. Picture courtesy of Media 10
Every year, leading up to graduation, we
survey our graduates who left three years
earlier. For the past four years, we have
traced, on average, 84% of each year group
and of these, on average, 94% are in work
and 82% are working in the performing arts.
If you decide you want to study with us and
are admitted, you will become a part of
these statistics, statistics we want not just
to maintain, but raise higher. Compare this
with Equity statistics for UK actors: at any
one time, roughly 80% aren’t working. If
you go on our website, you’ll find these
results summarised in our annual graduate
newsletter, See Me Now. We hope the title
says it all. Inside you’ll find the latest
Graduate Snapshots, where you can find out
exactly what they are doing.
On the next pages, you will find lots of
examples of the various career paths that
our graduates have taken – which gives you
a taste for how broadly we prepare people
for their careers in the performing arts
economy.
Acting graduates. In the last 12 months
our graduates have been performing with
the Royal Shakespeare Company, at the
National Theatre, in West End productions
and in a diverse range of international and
national touring shows, across all types of
genres. In musical theatre, our graduates
have been starring in Ghost the Musical,
Matilda the Musical, Les Misérables, Wicked and
Corrie! in the UK and playing a lead in the
new production of Carrie in New York.
THE PLACE
14
One of our Music graduates is
composer in residence at the Donmar
Warehouse. Many Music and Sound
Technology graduates are signed with
leading labels including Universal,
Domino, Hubris Records and top jazz
label Candid Records. Others are
composing and arranging for film, TV
and video games. One of our
graduates has worked for a number of
years for George Lucas at Lucas Arts in
San Francisco as a Staff Composer for
Star Wars video games. Some of our
graduates are working as musical
directors in musical theatre or in the
bands for musical theatre tours.
1
Some of our graduates have gone on to
develop directing careers, including Jamie
Lloyd, who is an Associate Director of the
Donmar Warehouse, where he has directed
Inadmissible Evidence, The 25th Annual Putnam
County Spelling Bee, Passion and Piaf, amongst
others. He has also directed She Stoops to
Conquer for the National Theatre, where the
cast included three of our acting graduates,
and The Duchess of Malfi at the Old Vic. Acting
graduates have also played lead roles in
popular British TV soaps such as Coronation
Street, Doctors, Emmerdale, Hollyoaks and The
Royal. There have been many lead roles in
prime-time TV dramas including The Street,
Waterloo Road, The Crimson Petal and the White
and comedy roles in Lunch Monkeys and Gavin
and Stacey.
Community Drama graduates. Many of our
graduates are working as drama
practitioners, facilitators and workshop
leaders in a wide range of organisations such
as Artis (London-based Creative Education
Company), Liverpool’s World Museum, TIPP
(Theatre in Prisons and Probation) and the
National Theatre of Scotland. They have also
formed their own community theatre
organisations and established successful
freelance careers working with a wide variety
of participant groups, ranging from children
and young people to the elderly in
residential care and from refugees and
asylum seekers to young offenders. Their
work has taken them to Brazil, Iran, the USA
and Hong Kong.
choreographers and joined renowned dance
companies such as Cinevox Junior Company in
Switzerland, Richard Alston Dance Company
2
and Wired Aerial Theatre. A number have set
up their own companies such as Living the
Dream. Many have appeared in music videos
and TV commercials and also gain regular
work as dancers and choreographers on cruises
and in the fashion, hospitality and leisure
industries. Some have worked on stage as
backing dancers for international recording
artists including Janet Jackson, Nicole
Scherzinger and Kanye West. Some have also
Our graduates have also gone on to
landed dance roles in films including the
work
alongside many world famous
Hollywood blockbusters Mamma Mia! and
musicians:
this may be as backing
Captain America: The First Avenger.
singers, instrumentalists (e.g.,
Music and Sound Technology graduates.
drummers, guitarists and keyboard
Many of our Music graduates have been
players), songwriters, support groups
instrumental in top ten hits across the world
or as their sound engineers in the case
not just as performers but as writers and
of Sound Technology graduates
producers. 2003 Music graduate Sandi Thom’s (working on their albums in studios or
debut album Smile, It Confuses People... sold
on their live sound on tour). The list of
over a million copies and reached number 1 in artists they have worked with covers
7 countries. Norwegian graduate Mads Hauge
just about every style of music and
co-wrote and produced Pixie Lott’s number 1
includes Beyoncé, AC/DC, Alexandra
singles Mama Do and Boys and Girls. Fellow
Burke, Coldplay, Sheryl Crow, Death
Norwegian Jonas Alaska, who is a singerCab for Cutie, Eliza Doolittle, Florence
songwriter, won the best newcomer prize at
and the Machine, Guns N’ Roses, Lady
the Spellemannprisen 2011 (Norway’s version Gaga, Jools Holland, KD Lang,
of the Grammy Awards) in January 2012.
Madonna, John Martyn, Paul
McCartney, George Michael, Muse,
3
Roll Deep, Britney Spears, Take That
and KT Tunstall, to name but a few.
4
1. Andrew Langtree (Acting 1998) playing Carl in Ghost
the Musical. Photograph by Sean Ebsworth Barnes
Dance graduates. Our Dance graduates
have been performing in high-octane
musicals and other types of dance-related
shows such as We Will Rock You, Cabaret, Hair,
Starlight Express, Mamma Mia!, Copacabana, Ben
Hur Live, Faust (with the English National
Opera) and Spirit of the Dance. Graduates have
also performed with various independent
2. Mike Crossey (Sound Technology 2001) has produced
many high-profile albums by some of the biggest
bands in the UK today. A handful of the highlights
from his CV include Arctic Monkeys, Razorlight, Foals
and The Kooks
3. The Staves, fronted by Jessica Staveley Taylor (left)
who studied here and graduated in 2010, have been
signed to Atlantic Records and are an iTunes tip for
2012. Photograph by Rebecca Miller
4. Mattie Campbell (Community Drama 2010) with
members of the company he has launched known as
Fracture Theatre Company
As well as working in recording
studios or in live sound with bands,
Sound Technology graduates also go
on to work in postproduction sound
for film and TV. One of our graduates
has worked in sound editing on a
number of the Harry Potter films,
another is at Air Studios (London) and
has worked on the soundtracks for
such films as Inception, Black Swan and
Sherlock Holmes. Others are pursuing
careers in sound in the theatre – such
as Theatre Sound Operator on Oliver!
the Musical and Phantom of the Opera for
Sir Cameron Mackintosh. One
graduate is First Sound Technician
with the RSC. Still others are carving
out successful careers as game audio
specialists for companies such as
Codemasters and Electronic Arts.
THE PLACE
1
2
Music, Theatre and Entertainment
Management graduates. Employment success
is no less impressive for these graduates.
Graduates from this programme have worked in
managerial roles for a wide range of companies,
including Atlantic Records, BBC, BWH Agency,
Bukta Festival, Candoco Dance Company, Comic
Relief, Island Records, Lyric Theatre, The Ministry
of Sound, the Octagon Theatre, Pippa Ailion
Casting, Polydor, Qdos Pantomimes, the Royal
Court Theatre, SJM Concerts, Sony BMG, PRS for
Music, Whatsonstage.com and Women in Film
and TV. Many students are offered full-time
positions following their work placements. Other
graduates have set up their own businesses,
undertaking a wide range of activities within the
music, theatre and entertainment industries
including event management; organising arena
tours; managing and representing successful
bands and artists; marketing; publishing;
promotion and video production.
15
Keane, Kings of Leon, Coldplay, and Sigur
Ros. Recent stage design credits include
Othello (Sheffield Crucible), Flashdance (West
End - nom. Best Set Design, Whatsonstage
Awards), Richard II (Donmar Warehouse). TV
design includes Life on Mars, Project Runway,
Big Brother and more. Graduates are
employed in stage management, set and
costume design, prop making, lighting
technology, live theatre sound, model
making, wardrobe supervision, scenic
construction, TV camerawork, corporate
events, AV design, video editing, rigging
and flying control, puppetry and
architectural lighting design.
3
National Theatre of Cyprus,
Nickelodeon, No Fit State Circus, the
Octagon Theatre, O2 Academy, Oslo
Nye Theatre, Pleasance Ltd, PRG, Royal
Caribbean International, the Royal
Court Theatre, the Royal Opera House,
SHUNT, Sky News, Stadttheater and
the RSC. Some graduates are working
in lighting design for The Wombats,
The XX, Sleigh Bells, Bat for Lashes,
Frankie Boyle, Jimmy Carr and in
touring automation for Girls Aloud,
Theatre and Performance Design and
Technology graduates. Graduates have
progressed to work in diverse organisations
including Aardman Animation Studios, Adlib
Audio, Apollo Victoria Theatre, BBC News and
Sport, BSkyB, Bush Theatre, Cardiff Millennium
Centre, Cirque Du Soleil, Crucible Theatre,
Designlight GMBH, De Montfort Hall, Disney,
Donmar Warehouse, Drammen Theatre, Echo
Arena and Conference Centre, Everyman and
Playhouse Theatre, Lite Alternative, Guggenheim
Museum, Garrick Theatre, Lime Pictures,
Philharmonic Hall, the National Theatre,
1. Lynette Howell (Management 2000) is a
film entrepreneur. Her LA-based company
has produced Blue Valentine and Half Nelson
4
2. Richard Kent (TPD 2007) recently designed
Michael Grandage’s last show at the Donmar
Warehouse
3. Mitchan Fujii (TPT 2005) working in fitting
for the Costume Performance Support
Department at the Royal Opera House in
Covent Garden
4. David Jolly (TPT 2002) is currently a stage
rigger and motion control operator and is
establishing his own hire company as sole
UK supplier of load cell monitoring
equipment
Will you join us?
Mark Featherstone-Witty
Founding Principal/CEO
As Paul says:
‘‘
Initially I had misgivings about the ability to teach the stuff
we had to learn the hard way – by going in front of the
public and just doing it. Since then, I have seen what LIPA students
can do; they have proved to me that they can stand up and deliver.
There’s a great sense of purpose and passion about the place
and I feel great pride. The dream we had to save my old school
and turn it into something really worthwhile has happened.
‘‘
Paul’s quote sums up where we are
today. I hope what’s been written in this
section makes sense to you. If it does
and if you feel we are the right place for
you, I hope you’ll apply.
THE PLACE
16
An
international
outlook
A top-selling album in India by a UK-based
Canadian singer, featuring a Danish songwriter
and a Norwegian producer. Guess the link?
All our graduates, working together.
The performing arts industries are global.
Production teams and performances are
increasingly made up of people of different
nationalities working and networking
internationally. We aim to mirror this world
and be an international institution. Close to a
third of our 722 full-time undergraduate
students come from countries outside the
United Kingdom, one of the highest
percentages amongst higher education
1
A STUDENT’S VIEWPOINT
“Since moving to Liverpool from India to
study Sound Technology, I've had the
chance to work with many focused,
talented and inspiring individuals from
various cultural backgrounds. The
programme is well structured and teaches
you the concepts and hands-on skills you’ll
need in the real world. In my opinion,
though, LIPA’s greatest attribute is that it
nurtures and promotes creativity. This
approach to education is refreshing to me
and has enabled me to apply aspects of my
own learning as my skills and knowledge
develop.”
Purvi Trivedi, 2nd Year BA (Hons)
Sound Technology
institutions in the UK. We currently have
students from all continents here, with
40 different nationalities represented.
We appreciate that studying in a foreign
country can be a daunting prospect and
our International Team helps to make
the transition from your home country to
us as easy as possible. Having welcomed
international students since we first
opened, we are familiar with overseas
qualifications. So if you live outside the
UK, or if your first language is not
English, or if you are new to the UK,
don’t let the fact that you don’t have
British qualifications discourage you
from applying.
Although many international applicants
choose to audition/interview in
Liverpool (we’ll show you around whilst
you’re here), we hold annual auditions
and interviews in a number of overseas
countries. If you cannot attend any of our
audition/interview events, we can send
you guidelines for a postal audition. If we
offer you a place on one of our
programmes and you accept, the
International Team can give you
guidance to help make the transition to
studying here as easy as possible,
whether you need advice on funding,
getting here or securing a Study Visa
(also referred to as Entry Clearance) for
those of you travelling to us from outside
the EEA.
More information for international
students is available at
www.lipa.ac.uk/international
1. One of our South Korean students during a
one-to-one vocal lesson
A STUDENT’S VIEWPOINT
“I’ve come here from Las Vegas and
would describe LIPA as a creative artist’s
haven with pretty much all the tools you
need at your fingertips. For example, I
am an actor, but I am also heavily
interested in sound technology, music,
and making my own productions. LIPA
has about every main band instrument
and production materials for rental
including drum rooms, HD cameras, and
recording spaces, and spaces for studentproductions. As you graduate, the main
things you’ll be able to take away are
first of all, marketability. Secondly,
knowledge of your own craft and better
yet, as the industry changes, so does
LIPA’s way of teaching you how to be
employable, as many of the staff were
and still are working professionals.
Thirdly, a cultural experience of a
lifetime. It’s one thing to visit England,
but to actually live and immerse yourself
in a different culture for three years is
possibly the most eye-opening
experience you’ll ever get.”
Jan Paulo Musni, 3rd Year BA
(Hons) Acting
You are more than welcome
to contact our International
Team with specific questions
about how to apply, when to
apply or to arrange a visit to
look around and meet
people. The International
Team can be contacted at
[email protected]
or by telephoning
+44 (0)151 330 3118.
THE PLACE
17
Student
support
We aim to make you feel
welcome and help you to adjust
to studying here as quickly as
possible. We also aim to ensure
that you have the support and
guidance you need throughout
your time with us. We are a small
institution, which means we can
get to know you as a person.
Student Support Manager. Our dedicated
Student Support Manager offers advice
and information about a wide range of
issues related to your support needs
(personal and educational), health and
welfare. To help you with all of your
access and support requirements, our
Student Support Manager can be
approached before you begin your studies
or at any time during your programme.
Our Student Support Manager is able to
provide specific guidance on the Disabled
Student’s Allowance (DSA), accessible
student accommodation and a wide range
of other specialist support services and
opportunities if you are a disabled or deaf
student, have mental health difficulties,
have long term conditions or have specific
learning difficulties such as dyslexia. For
UK students, who are entitled to a DSA,
we have direct links with local National
Network of Assessment Centres and can
arrange appointments with these
agencies when you notify us that you
have been awarded a DSA.
Our Student Support Manager is happy to
offer support to you if you are
experiencing health-related difficulties,
personal problems, personal distress or
accommodation problems. Our Student
Support Manager can also provide
specialist guidance for care leavers and
mature students.
In addition to the Student Support
Manager offering you direct support, he
can refer you (as appropriate) to other
members of the Student Support Team,
such as specialist study skills tutors,
educational psychologists, notetakers and
other educational facilitators, a specialist
music teacher, an AD/HD coach and
student counsellors.
A STUDENT’S VIEWPOINT
“My support need is dyslexia and before
LIPA I struggled in the academic
subjects. The Student Support here has
really helped me, not just pass my
degree, but a predicted pass with a
grade I never thought I could get.
Without the Student Support my
dissertation experience would have
been stressful, however I have actually
enjoyed working on it!”
contrasting nosing on both internal and
external stairs. Specialist ICT support is in
place too. This includes voice activated
MS Office software, JAWS screen reading
software, keyboard guards, trackballs and
larger monitors. We have a text enlarger, a
flatbed scanner and reading software,
allowing conversion to Braille if you are
visually impaired. Specialist music
resources include 4-beam Soundbeam
music system and portable PC with MIDI
capability.
Gemma Hancock, 3rd Year BA
(Hons) Dance
All the services and advice offered by the
Student Support Manager and his team
are provided within a formal
confidentiality framework. When required
and with your agreement, the team can
work with you to propose reasonable
adjustments to be made to how you are
taught, how you learn and how you are
assessed, to ensure that you achieve well
and make the most of your time with us.
Professional Development Tutor.
You will be allocated a Professional
Development Tutor. They will be your first
point of contact for any programme work
related matter and will work closely with
you to monitor your progress.
Our accessibility. During the rebuilding of
the former Liverpool Institute for Boys, we
wanted to make the building as
accessible as possible, particularly to the
needs of disabled and deaf students.
Corridors are broad and there are easy
access toilets throughout. If you have
visual impairments, we have colour
contrast around pillars and other potential
hazards throughout the building and
We want to achieve equality
and diversity. We want to be
accessible to everyone and we
will make reasonable
adjustments if you are disabled.
If you have questions at any
time, including before you apply,
please contact Rob Hughes, our
Student Support Manager, by
email at [email protected],
by telephone on
+ 44(0)151 330 3013
or by textphone on
+44 (0)151 330 3055.
More information about the
work of the Student Support
Team is available at
www.lipa.ac.uk
THE PLACE
18
1
Doing your
ownthing
2
Being surrounded by creative,
energetic and like-minded people
means you can create your own
shows and your own scene.
5
The Independent Student Board (ISB). This is led
by students for students and the board is made up
of people studying on every discipline. There are
two primary roles that the ISB serves. The first is
organisation and implementation of events and
parties in our bar and café areas, including the
Freshers’ Fortnight programme, the infamous bar
crawl, Refreshers Week and events for Valentine’s
Day, Halloween, St Patrick’s Day and so on. The
ISB also organises at least one grand ball every
year, held outside our buildings. In your first
couple of weeks here, the ISB will take care of
your social schedule, so don’t worry, you will
settle in and make friends quickly.
A STUDENT’S VIEWPOINT
“The ISB is here to help all students settle in as
smoothly as possible through organising the
famous Freshers Fortnight and various other
social events throughout the year, giving
students plenty of opportunities to let their hair
down. As well as organising all of the social
events throughout the year, the ISB helps
students explore their creativity and put some
of their new-found skills into good practice by
giving the necessary resources and guidance to
allow students to put on a show, whether it be a
musical, a play, a gig or a dance piece.”
Steven Lewis, ISB Chair
The second role is to provide support and
facilitate student led productions – your
productions. These can be anything,
including drama, music, dance, comedy or
other shows suitable for the performance
spaces available. They are usually held in
the Sennheiser Studio Theatre, café or
performance rooms. You apply to put on a
show and then the ISB helps you to
organise marketing, production
management, source actors, technicians or
with any area with which you need help.
There is also a budget available for your
show, if required. Being able to produce
your own show, not only adds valuable
credit to your CV, but also allows you to
work with people from other disciplines in
a relaxed show production environment.
You are not being assessed on your work
and everybody can have a go. One of the
highlights of last year was a dance show
directed and choreographed by dancers
across all years. Last year there were over
20 ISB productions.
4
3
Over the years, a number of ISB
productions have garnered five
star reviews at the Edinburgh
Fringe Festival. You can apply to
join the ISB team and become a
board member from your 2nd and
3rd year. There are many roles to
be taken on within the team –
whether your strength is in
designing, organising, negotiating
or in technical matters.
1.
Enjoying some downtime
2. Soul in One (second-year musicians)
playing at the ISB Hollywood Ball
3. Giving out fliers at the Edinburgh
Fringe
4. The café is a popular meeting place
5. The bar is a hub of activity on
performance nights
THE PLACE
19
1
Lifein
Liverpool
Liverpool is vibrant and culturally
rich. Performing arts of all types and
scales can be found in the dedicated
venues and theatres or at the many
cinemas, art centres, pubs and clubs.
Liverpool was the European Capital of Culture 2008,
which has left behind a rich cultural legacy. The city
boasts more theatres, museums and galleries than
any other UK city outside London.
2
A student-friendly city. Liverpool is a buzzing
university city, which welcomes its student
population of around 70,000, ensuring you’ll always
find somewhere great to socialise and meet new
people.
Great nightlife. Liverpool was named Britain's best
nightlife destination by travel website, TripAdvisor in
2011. The criteria taken into account include not just
bars, nightclubs, and restaurants, but also live music
venues, comedy clubs and theatres. As Liverpool is a
university city you’ll find lots of venues have student
offers, too.
Music. Liverpool is acknowledged by The Guinness
Book of Hit Singles as ‘World Capital of Pop’ for
producing more number one hit singles than any
other city around the globe. Well known for its music
scene, Liverpool offers a plethora of live music
venues that range in size from intimate venues (like
the world-famous Cavern Club and student-friendly
Magnet) to a 10,600 seater arena: the Echo Arena.
In its opening year, it hosted the MTV Europe Music
Awards, in which some of our students performed.
It is the perfect place to see some of the biggest
names in the entertainment industry. Beyoncé,
Coldplay, Bob Dylan, Lady Gaga and Oasis have all
performed there. For classical aficionados, the Royal
Liverpool Philharmonic is a must.
3
Theatres and other performing arts
venues. There are currently four city
centre theatres, five counting ourselves.
Genres vary from the Empire Theatre
which shows West End touring
productions, to the more bold
productions staged at the Playhouse
and the Liverpool Royal Court Theatre:
all three are producing theatres. This is
not to forget Unity Theatre, a receiving
house close by. There are also
numerous comedy venues and FACT:
the UK’s leading organisation for
promoting, commissioning and
exhibiting film, video and new and
emerging art forms.
4
1.
Leaf tea shop and bar,
Bold Street
2. HOST restaurant,
Hope Street
3. Homotopia arts and culture
festival
4. The Beatles Story,
Albert Dock
Festivals. Liverpool is home to a range
of world-class festivals and events that
include all art forms and cultures.
Throughout the year you can enjoy
Africa Oyé; Mathew Street Festival,
which is the biggest free outdoor music
festival in the country; Creamfields;
Liverpool Irish Festival; Homotopia; and
Chinese New Year celebrations, to
name but a few. The Liverpool Biennial
Art Festival attracts works of art from
world renowned artists.
THE PLACE
20
1
2
3
4
5
Park-life. Liverpool has plenty of green space for you to
enjoy, including Sefton Park. Around two miles away from
us, its 200 acres of parkland include a number of lakes,
ponds, woods and gardens and a magnificently restored
Palm House, a great place to while away a sunny afternoon.
1.
FACT, visual arts centre
2. Probe Records
3. Sefton Park
Shopping. The city has enjoyed a shopping renaissance, due in
no small part to the opening of Liverpool ONE. This offers over
42 acres of shopping, dining and socialising, with everything
from high street retailers, where you can bag a bargain, to
designer stores and boutiques, if you’re feeling flush.
4. Liverpool ONE
5. Liverpool Sound City
music festival
6. Museum of Liverpool
Stunning architecture, art galleries and museums. As an old port city,
Liverpool has some stunning architecture, including the Three Graces
that sit on the waterfront. The Albert Dock is home to a number of
museums including the new Museum of Liverpool (another landmark
building) and the Tate art gallery. Many of these are free to enter. The
city also boasts two cathedrals, the distinctive Metropolitan and the
Anglican. Liverpool’s Anglican Cathedral is the largest Anglican
cathedral in Europe and the second largest in the world.
Sports. If you like sports, Liverpool has two Premier League football
teams (Liverpool FC and Everton FC). When their matches are on, you
can’t miss the exciting, supportive atmosphere around the city.
Liverpool also hosts the annual Grand National steeplechase and is
home to water sports clubs that are available at Liverpool’s Marina.
Getting to know the city. To help you find your way around
the city and get to know some of these award-winning
attractions, there are a number of sightseeing tours
available daily.
10 facts about Liverpool
China Town is the oldest Chinese community
in Europe
Liverpool is the most filmed city outside London
The Albert Dock has the largest group of Grade I
listed buildings in the UK
Liverpool was designated a World Heritage City
by UNESCO in 2004, placing the famous
waterfront in the same grouping as Stonehenge
and the Great Wall of China as one of the
world’s most important places
6
Liverpool is the 6th most visited UK city for
international visitors
Liverpool is the home of The Beatles and is a
major music city
Liverpool has two Premier League football
teams and across the river is Tranmere Rovers
Liverpool has more than 250 city centre pubs,
clubs and bars
RMS Titanic was registered to the White Star
Line which had its head office in Liverpool
The city is home to Liverpool John Lennon Airport,
one of the fastest growing airports in the UK
THE PLACE
21
Where
youlive
1
When it comes to choosing where to
live, you will find plenty of
affordable options nearby.
3
A STUDENT’S VIEWPOINT
“Living in Liverpool has been a great
experience. Its warmth and friendliness
make it easy for new students to adapt
to the environment, which is different
from my home state of Georgia, US.
Staying in halls in first year is an
invaluable experience because it lets
you meet people from LIPA and create
relationships with them even before the
programme starts.”
Robby Wilkinson, 3rd Year BA
(Hons) Music, Theatre and
Entertainment Management
2
Halls of residence-style accommodation is
the most popular with our first-years. You’ll
find there are lots of halls of residence to
choose from – all within comfortable
walking distance of our buildings.
In your second and third year, you might opt
for sharing accommodation with other
students within the private rented sector.
Along with the other universities in
Liverpool, we are affiliated to Liverpool
Student Homes, which co-ordinates privately
owned flats and houses available for rent in
the city. It currently holds information on
about 3,500 landlords in the Liverpool area.
Once you have accepted an offer of a place,
we send you more detailed information on
accommodation. Our website provides links
to all the housing companies we work with,
so you can browse the accommodation
options available.
There are plenty of these, within five to
fifteen minutes’ walk. We do not have our
own student accommodation, but our
arrangements with the local providers means
that you have lots of choice. All of these are
self-catering. Prices range from £75 to £117
a week. Accessible accommodation is also
available.
1.
Living together and learning together
2. Agnes Jones House is one of the nearby halls
of residence
3. Cambridge Court is another nearby halls of
residence
Sound.
We’re proud to be a supporting act.
REPRESENTING
BRITISH RECORD
COMPANIES
The BPI is the trade association for British record companies and currently looks after the interests of over
360 members - representing 90% of UK music sales.
The British music market is recognised throughout
the world as a rich source of musical styles and new
talent. The industry’s continued success is dependent
on investment in education and career development.
The BRIT Trust is the charitable arm of the BPI established in 1989 with its mission statement “to encourage
young people in the exploration and pursuit of educational, cultural or therapeutic benefits emanating from
music”. The Trust relies entirely on donations from the
music industry and its charitable events.
The BPI/BRIT Trust is proud to be associated
with the Liverpool institute for Performing Arts
and supports its commitment to the training of
talented and motivated individuals in the arts.
Visit our websites for more industry facts
and figures and careers information.
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24
THE PROGRAMMES
This new acting and musical
theatre programme has two
aims: direct entry into the
profession or as an addition
to your Level 3 qualifications
for pre-entry to further
training onto a degree or
alternative training
programme. You’ll need to
be an instinctive and
talented performer,
interested in enhancing your
existing experience and
training to help you reach
your career aspirations.
GRADUATE VIEWPOINT
Poster image: in rehearsal
for a performance
1. Our companion Nickolas
Grace working with our
students
2. Dress rehearsal for Tied
and True, a company
devised project
3. Rehearsals for scene
study
4. A musical theatre
number in The Ghosts of
Saturday Night, a
company devised
project
“The Foundation programme at LIPA is
a superb way to start your training. This
intensive year is full of indispensable
techniques, as well as creating a safe
place to explore and grow as a
performer. I went on to be accepted on
to the BA programme here. It is the
foundation year that I look back on as
the crucial turning point in my training
– it was then that I made the first leap
from an instinctive performer to a
conscious and crafted actor.”
Mark Ashcroft graduated from the Foundation programme in 2009
and is now in the third year of the BA (Hons) Acting programme at
LIPA.
THE PROGRAMMES
25
1
2
Programme Content
•Experience. We want to know
about any performance
experience, which you have had
to date. This may include both
work in school or amateur
dramatics/youth theatre.
You experience the principles of a
Stanislavskian-based acting
technique taught through games,
improvisation and text-based work,
including scene study and work on
•Interdisciplinary experience
heightened text. This technique
and/or interest. By its
may also be applied to acting
nature, this programme is
through song and classes in
interdisciplinary and therefore you
musical theatre style and
should have experience in at least
repertoire. Actors’ movement skills
appropriate to a variety of forms are two of the following: acting,
dancing and singing. At audition,
developed across a number of
we will carry out a vocal and
dance and movement styles. Your
physical diagnostic to assess your
vocal training includes relaxation,
potential for training.
respiration, resonance and
articulation and their application to •Communication skills. As
both spoken and sung text. In
communication skills are so
addition to these practical strands,
important in performing arts, the
you also importantly focus on
ability to communicate effectively
developing an understanding of
is essential.
current professional practice and
•Enterprise. We are looking for
audition technique. Your year
examples from you that show us
culminates in a final performance
your ability to use your own
project.
initiative.
Entry Requirements
As with entry to all of our
programmes, we’re interested in
your ability, talent, potential and
overall commitment to pursuing a
career in the performing arts. We
take a holistic approach to
assessing you and consider five
factors, which are:
•Education. The educational entry
requirements are the same as for
our related degree programme, so
at GCSE, you need five GCSE
passes at a minimum grade C or
above. These should include
Maths and English Language. You
would also usually be educated to
A-Level or have equivalent UK or
overseas qualifications and should
normally achieve 180 UCAS tariff
points as a minimum (for full
details see page 47).
4
Teaching and Assessment
The programme is taught over our full teaching year
(currently 30 weeks) and is delivered via a combination of
practical workshops and classes and rehearsals with some
lectures and seminars. The first half of the year focuses on
preparation for audition while the second half concentrates
on the further development of skills and techniques. This
largely practical programme is assessed through practical
tasks, performances and some written assignments.
Career Prospects
This programme can help you sharpen your competitive edge
as a degree programme applicant, or as an emerging
performer. While this programme is not a guaranteed
passport to ours or other degree programmes, students who
have studied with us in the past at the level of Foundation
Certificate have been offered places at Arts Educational,
Bristol Old Vic Theatre School, Drama Centre, Mountview
Academy of Theatre Arts, Rose Bruford, Royal Conservatoire
of Scotland and Royal Welsh College of Music and Drama. As
a performer, your ambitions may lie in theatre, the
commercial musical theatre sector, film, television or radio.
Applying to this Programme
You need to complete a LIPA application form, including
information about your qualifications to date. Entry is usually
via audition. Please see the Pathway pages 47 to 54, for further
information about how to apply. This programme is a private
programme and doesn’t attract government funding. Please see
page 55 for further information.
3
This Foundation Certificate will be reviewed and revalidated prior to 2013 entry. As a result, there may
be some changes to modules and delivery of classes for 2013 entry. These will be publicised on our
website.
26
THE PROGRAMMES
This new commercial dance
programme has two aims: direct
entry into the profession or as an
addition to your Level 3
qualifications for pre-entry to
further training onto a degree or
alternative training programme.
You’ll need to be an instinctive
and talented performer, interested
in enhancing your existing
experience and training to help
you reach your career aspirations.
Poster image: an end
of year performance
showcases your work
GRADUATE VIEWPOINT
1. Contemporary
dance technique is
one of the
techniques
studied on the
programme
“The programme really helped me to
develop my dance technique across
many styles that are helpful for
commercial dance. It confirmed the
direction I wanted to take in my
career and very importantly improved
my confidence and my success rate at
auditions.”
2. Performing in our
Paul McCartney
Auditorium
3. Dance for musical
theatre is part of
the programme
4. One of our regular
jazz technique
dance classes
Grace Turner graduated from the
Foundation programme in 2009 and
is now in the third year of the BA
(Hons) Dance programme at LIPA.
THE PROGRAMMES
27
1
2
Teaching and Assessment
Programme Content
Entry Requirements
You have regular weekly dance
technique classes with two
performance opportunities during
the year. Classes are Monday to
Friday and are delivered throughout
the year. Ballet, contemporary and
jazz technique will provide the
backbone of your training.
Additional classes in street, hiphop, tap, musical theatre and other
commercial dance styles focus on
audition technique and
performance. You are also given
the opportunity to participate in
master classes given by high
profile, industry guests. In the lead
up to your performances, you work
with a variety of choreographers
and you play an active part in
creating performance work to be
showcased in one of our state-ofthe-art theatre spaces.
As with all of our programmes, we
are interested in your ability, talent
and potential and overall
commitment to pursuing a career
in the performing arts. We take a
holistic approach to assessing you
and consider five factors, which are:
4
•Education. The educational entry
requirements are the same as for
our Dance degree, so at GCSE you
will need five GCSE passes at a
minimum grade C or above. These
should include Maths and English
Language. You would also usually
be educated to A-Level or have
equivalent UK or overseas
qualifications and should
normally achieve as a minimum
180 UCAS tariff points (for full
details see page 47).
•Experience. You may have
undertaken dance training in
some or all of the dance styles
and techniques that we cover in
the programme but that’s not
essential to us. More important is
that you are able to demonstrate
confidence in performance and
that you can bring personality to
your performance.
This Foundation Certificate is taught over our full teaching
year (currently 30 weeks) and is delivered via a combination
of practical dance technique classes and rehearsal sessions
with some lectures and seminars. Your individual progress is
monitored closely and feedback is given regularly throughout
the year. We assess you through your work in class, your
written assignments and your performance work.
Career Prospects
This programme is designed to help sharpen your competitive
edge as a degree programme applicant or as an emerging
independent dance artist. While it’s not a guaranteed
passport to ours or other degree programmes, students who
have studied a similar programme with us in the past have
been offered places at Arts Educational, Bird College, Laine
Theatre Arts, London Studio Centre and Urdang Academy,
among others. Several have gone on to study abroad at
places like Broadway Dance Centre and The Edge in LA,
others are represented by some of the top dance agents in
the UK such as AMCK, Boss Creative Entertainment, Dancers
Inc, Mark Summers Casting and Rudeye. As a commercial
dance artist, your ambitions may lie in working in a variety of
areas including music videos, tours and West End shows. This
programme helps you become a versatile, confident and
competitive performer with a strong insight into the industry
you are about to enter.
Applying to this Programme
You’ll need to complete a LIPA application form, including
information about your qualifications to date. Entry is usually
via audition. Please see the Pathway pages 47 to 54, for further
information about how to apply. This programme is a private
programme and doesn’t attract government funding. Please see
page 55 for further information.
3
•Interdisciplinary experience
and/or interest. By this we mean
experience or interest in other
aspects of performing arts (such
as acting, singing or backstage).
•Communication skills.
As communication skills are so
important in performing arts, the
ability to communicate effectively
is essential.
•Enterprise. We are looking for
examples that show us your
ability to use your own initiative.
This Foundation Certificate will be reviewed and revalidated prior to 2013 entry. As a result,
there may be some changes to modules and delivery of classes for 2013 entry.
28
THE PROGRAMMES
This programme is designed for
musicians who want to enhance
their music skills, whilst learning
more about the technology of
music production and recording,
and for potential sound engineers,
who want to brush up on their
musicianship. You may choose to
study this and then go straight
into work. Or you may use it as a
foundation to help you build on
your experience and theoretical
knowledge before progressing on
to degree level study.
GRADUATE VIEWPOINT
Poster image: engineering
a sound check for a live
music assessment in our
Studio Theatre
1. Band rehearsals as part
of the Musicianship
module
2. A live performance
assessment
3. Producing a fellow
student’s recording
“My time on the
programme gave me
not only the wealth of
experience necessary
but also the
confidence to really
get my career in the
music industry going.
Without the live audio
classes I never would
have had the drive to
make things happen
for myself!”
Phil Gornell (graduated 2008) is tour manager and front of
house engineer for rock outfit Bring Me The Horizon.
THE PROGRAMMES
Programme Content
This practical programme lasts 30
weeks and is spread across two
teaching blocks. Altogether you
study three core modules and also
get to choose a further two options
in each teaching block. These
options allow you to tailor your
studies to match your own
aspirations. This flexibility means
that you can either broaden your
skills base by selecting new areas of
study, or consolidate your area of
interest by selecting options in
which you already have some
experience. Most modules start at an
introductory level and quickly
progress towards a more advanced
level over the duration of the
programme.
Entry Requirements
In addition to your supplied
recording, we take the following five
criteria into account when assessing
applicants: education, experience,
interdisciplinary experience/
interest, communication skills and
enterprise.
In terms of education, at GCSE level
you will need five GCSE passes at a
minimum grade C or above. These
should include Maths and English
Language. You would usually also be
educated to A-Level standard or have
equivalent UK or overseas
qualifications. You should normally
achieve, as a minimum, 180 UCAS
tariff points. (If studying A-Levels this
should be from 2 A-Levels, excluding
General Studies). The programme is
open to people with diverse
background experience; therefore the
roles you may list under ‘experience’
on your LIPA application form could
include one or more of the following:
musician, songwriter, sound engineer
or producer. If you live outside the
UK, the same criteria apply and you
need to demonstrate a good
standard of spoken and written
English. For a summary of acceptable
proficiency tests and examinations in
English language, see page 47.
3
29
Programme Structure
1
Core Modules
Business Skills & Context
(25 week long module)
Information and tools to help you
understand and find your place in
the music industry
Musicianship
(25 week long module)
One-to-one instrumental or vocal
lessons plus band rehearsals and
master classes
Sound Recording & Production
(25 week long module)
Desktop (Pro-Tools) and studio
learning to provide a solid
foundation in modern music
production techniques
Teaching Block 1 Options choose 2 (September –
January)
Music Theory
Keys, scales, chords, rhythm
notation, modes,
transposition, harmony
Theory of Sound
Using maths to predict how
sound behaves under certain
conditions
Songwriting
The craft of creating songs
focusing on lyric, melodic, and
harmonic hooks
Teaching Block 2 Options choose 2 (February – May)
Teaching and Assessment
Teaching and learning is delivered through a combination of
one-to-one tuition, whole group lectures and small
workshops by our music and sound technology lecturers.
You are expected to attend weekly master classes.
The programme has a minor component of written work.
You must complete all core modules and four options
achieving a mark of 40% or higher in each to be awarded the
certificate. Most modules have assessment tasks that
students are expected to complete in their own time, and
there is often a component of continual assessment to
monitor week-to-week learning.
Career Prospects
This programme can help you sharpen your competitive edge
as a degree programme applicant for Music or Sound
Technology programmes, or can help you to go straight into
work. While this programme is not a guaranteed passport to
ours or other degree programmes, in past years roughly a
third of the students have gone on to degree-level study after
completing this programme, either here or at other
institutions such as Berklee, BIMM, ICMP, SAE, Salford
University, Sussex University and Westminster University.
Two of the students in The Wombats studied this programme.
Other students have supported artists such as Paolo Nutini
and Celine Dion and one has worked as a writer/producer for
Warner Chappell Music.
Applying to this Programme
Live Sound
Planning, setting up and
running a medium sized PA for
live music performance
Arranging & Direction
Getting the most out of your
musicians through preparation
of parts and efficient
rehearsal/session
management
You need to complete a LIPA application form including
information about your qualifications to date. You also need to
submit a recording. Entry is usually decided by assessing the
application form and the recording. Please see the Pathway
pages 47 to 54, for further information about how to apply.
This programme is a private programme and doesn’t attract
government funding. Please see page 55 for further information.
2
Sequencing & Programming
Creating and editing sounds
with software synths and
samplers in Logic Pro and
Reason
The Foundation Certificate will be reviewed and revalidated prior to 2013 entry. As a result,
there may be some changes to modules and delivery of classes for 2013 entry.
30
THE PROGRAMMES
We aim to produce
disciplined, multi-skilled
and creative practitioners;
thoughtful actors who want
to take responsibility for
shaping their own careers.
Acting talent alone is not
enough to sustain a career.
So, we encourage you to
broaden your skills and
entrepreneurial outlook and
hence increase your
opportunities for work.
GRADUATE VIEWPOINT
Poster image:
performing in Tony
Kushner’s Angels in
America
1. Performing in the
popular musical A
Chorus Line
2. The dress
rehearsal of
A Streetcar
Named Desire
3. Performing in
They Shoot
Horses, Don’t
They?
“I picked up a LIPA prospectus and it sounded amazing
and cool and wonderfully inspiring. I definitely wanted to
come and I wasn’t disappointed; it was great. What was
the most important thing I learned? That in acting there is
no one right way, and you have to take what is best for you
and keep working harder at it, and if the well runs dry,
work deeper.”
Liz White (Acting 2000) starred as WPC Annie
Cartwright in Life on Mars (BBC). Other TV credits
include Garrow’s Law (BBC1), A Short Stay in
Switzerland (BBC), The Fixer (ITV1), A Thing Called Love
(BBC1). She also starred as Jennet in the Hammer Films adaptation of
The Woman in Black, also starring Daniel Radcliffe. Liz seen here performing
in Dying for It at the Almeida Theatre. Photograph by Manual Harlan.
THE PROGRAMMES
1
2
31
Teaching and Assessment
Almost all of the technique work is taught through practical
class, workshop and rehearsal. You are continuously assessed in
workshops and performances and you are expected to undertake
some form of reflective evaluation of projects as part of this
process. In the second year, the balance swings more towards
the performance itself and in the final year, you are assessed
entirely on performance. You are also encouraged to work on
independent student productions, but these are not assessed.
There is some written work including a contextual studies essay
in years one and two and a Final Research Project in year three.
Career Prospects
Our graduates predominantly work in repertory and for
television. However, the West End (musicals and plays),
pantomime, film and radio, Theatre in Education and touring
either in the UK or abroad also feature. Graduates have also gone
on to become directors, producers, musical directors, writers,
teachers, casting agents and founders of their own companies.
Programme Content
Year 1: Building a Technique
We start with play so that we can
work towards finding and freeing
your expressive capabilities. Acting
classes cover improvisation, scene
study, textual analysis, song and
non-verbal performance and run
alongside classes in voice/speech
and movement, with secondary
skills classes in song and dance.
There are ongoing in-house
practical showings to develop your
performance experience. A skills
“fusion” project provides an
exploration of moving from spoken
to sung text and its synthesis with
the physical choices for the actor.
The year ends with a full rehearsal
process leading to in-house
performance. You also learn about
the context of the acting world and
undertake professional
development: both help you
develop a critical eye for acting and
an understanding of collaboration.
Year 2: The Versatile Performer
While consolidating and extending
the work learned in the first year
through tackling increasingly
demanding material, you are
encouraged to explore beyond your
immediate strengths and to make
bolder decisions both within and
about your work. You also apply
what you have learned in different
mediums and styles, including
Physical Storytelling, Heightened
Verse Texts, Radio and Television.
Voice and Movement classes
continue alongside these projects
and offer support for rehearsal
projects. In secondary skills, you
undertake Musical Theatre
Workshop and can either develop
your dance skills in Dance 2 or
develop your own work in Creating
and Facilitating Performance.
You also take part in your first
Public Performance Project.
Classes in The Context focus on
broader conceptual aspects of the
performing arts, while Professional
Development prepares you for the
specific demands of the market
place and an understanding of
employment potential, including
an introductory conference day
with keynote speakers and visiting
alumni.
Programme Structure
YR
1
Year 3: The Professional
You practise the skills that you
have developed over the first two
years in a simulated professional
environment, where you can gain
experience in producing, directing,
and developing your own work as
well as performing. A variety of
production projects are presented
that are programmed by the year
group and tutors together. You
also rehearse speeches, songs and
scenes to help you to create your
audition portfolio. There is a strong
emphasis on professional
preparation, which includes your
full audition portfolio and a final
showcase presentation for agents
in both Liverpool and London. You
undertake a Final Research Project
allowing you to pursue individual
areas of interest in a combination
of practical research and written
presentation.
3
YR
2
YR
3
Primary skills
Acting 1 (building a technique, play and
improvisation, scene study, acting through song)
Voice 1
Movement 1
Secondary skills
Dance 1
Singing 1
Shared skills
The Context 1
Professional Development 1
Performance Practice 1
Primary skills
Acting 2 (applied technique, heightened text,
physical storytelling, TV/radio)
Voice and Movement 2
Secondary skills
Musical Theatre Workshop
And either
Creating and Facilitating Performance
Or
Dance 2
Shared skills
The Context 2
Professional Development 2
Performance Practice 2
The Context 3: Research Project
Professional Development 3 (including Agent
Showcase)
Performance Practice 3
The Company
Voice and Movement 3
Potential Changes
At the time of printing, this programme is being
reviewed to ensure that we continue to provide the
best possible content to prepare you for sustained
work. The programme will be validated for 2013 entry.
As a result, there may be changes to modules and
delivery of classes for 2013 entry. Please visit
www.lipa.ac.uk for updates.
32
THE PROGRAMMES
Do you believe that drama
and theatre can serve an
important social purpose
beyond pure entertainment?
Are you interested in
making performance for,
with and by specific
communities? Our aim is to
produce confident and
innovative Community
Drama facilitators with the
requisite knowledge and
skills to work across the
spectrum of contemporary
community/applied drama
practice.
GRADUATE VIEWPOINT
Poster image: directing a
rehearsal for a final project
working with young people
1. One of our students
(centre) facilitating a
devising session with an
adult group in a
Liverpool centre
2. Leading a workshop in
sensory development
3. Community Drama
students performing in
The Caucasian Chalk
Circle following on from
providing workshops in
schools
4. Shadow-work with
students taking a
puppetry module
“Due to the practical nature of the Community
Drama programme, I was able to step straight
into a full-time creative learning position without
feeling overwhelmed. In this competitive job
market, it's not enough just to be a fantastic
facilitator; being able to manage yourself and
projects makes you more employable. The
Community Drama programme develops these
skills and gives you practical experience. In my
current theatre-based programme manager role,
I have to deal with budgets, funding applications,
child protection policies, as well as the fun part – creating theatre with
participants! This programme gave me the confidence and skills I needed to
make my mark on the community arts world.”
Caroline Kennedy (Community Drama 2010) is Act Now! Programme
Manager at M6 Theatre, Rochdale. She was previously Creative Learning
Officer at Cumbernauld Theatre, Scotland.
THE PROGRAMMES
33
1
2
Teaching and Assessment
Programme Content
Year 1: Fundamental Skills
over a number of weeks with a
community group. Major projects
in this year include a Theatre in
Education tour, a week-long school
residency and a large-scale public
performance project, developed
and run in conjunction with a
specific community group.
You develop your skills as a theatre
practitioner. Using improvisations,
you devise original material and
discover new approaches to the art
of the performer. You learn about
the practical processes involved in
running workshops, including how
to assess the most suitable format
for different groups. You look at key
social, political, economic and
technological developments in the
history of Community Drama
practice. You also develop your
skills in written and verbal
argument.
Career Prospects
Community drama is a vibrant cultural sector offering many
employment opportunities. We have graduates in the fields of
arts and regeneration, arts outreach and Theatre in Education.
Many work on a freelance basis.
Programme Structure
Year 3: Independent Practice
YR
You put into practice all the skills
you have gained in enabling,
devising and managing, by
producing and realising
community-based projects through
self-directed activity. You
investigate the potential of drama
to create change by working with
community groups to facilitate a
Theatre for Democracy event. You
develop a critical understanding of
current legislation and policies that
affect your field of practice. A final
practical project and an in-depth
written research project conclude
your studies. Alternatively, you can
choose to write a dissertation. You
also develop your knowledge about
fundraising and project
implementation to enable you to
work effectively as a freelance
drama practitioner or set up your
own company.
Year 2: Facilitation and
Application
You build on your skills as a
facilitator/director through
classroom-based teaching, projects
and practical experience in
professional community contexts.
You undertake an in-depth
exploration of notions of
community and identity utilising a
variety of theoretical perspectives.
You develop your ability to plan
and manage small-scale projects
and, by the end of the year, you
should feel comfortable running
and evaluating a series of sessions
4
Teaching is delivered through a combination of practical
workshops, tutor-supervised placements, workshop projects,
seminars and lectures. Continual assessment is used throughout
and the methods of assessment include in-class presentations,
written assignments, portfolios and project-based performance.
1
YR
2
Theatre Origins: Ritual, Myth and Mask
Theatre for Social and Political Purpose
Acting and Improvisation
Stage Craft
Movement
Voice and Speech
Theatre Games & Facilitation 1
Performance Project
Shared skills
The Context 1
Professional Development 1
Core Skills (Acting/Singing/Movement)
Theatre and Drama in Education
Community Play as Counter-Narrative
Creating Devised Performance
Facilitation 2
Directing
Second Skill Option (possibly from a
choice of Puppetry, Drumming or Video)
The Context 2
Shared skills
Professional Development 2
3
YR
3
Core Skills (Acting/Singing/Movement/Public
Speaking)
Theatre for Democracy and Advocacy
The Context 3: Contemporary Policy and Practice
Professional Development 3
Final Dissertation
Or
Individual Final Project and Research Paper
The BA (Honours) Community Drama programme will be reviewed and revalidated
prior to 2013 entry. As a result, there may be some changes to modules and
delivery of classes for 2013 entry.
34
THE PROGRAMMES
Breaking new ground
presents
E
C
DAN
COMING
SEPTEMB
ER 2013
For furthe
r program
me detail
please vis
s
it www.lip
a.ac.uk
We want to provide
you with the
technique, creativity,
understanding and
professional
awareness to sustain
a career in
commercial dance.
GRADUATE VIEWPOINT
Poster image: street dance runs
throughout the three years of
the programme
1. Final-year commercial dance
performance
2. A contemporary dance
performance
3. The programme focuses on
building strong technique
over the three years
“My time at LIPA has been the best of my life.
With such a high standard of training and the
professionalism of both students and
lecturers, I developed a wide range of dance
skills along with a well-rounded
understanding of today’s performing arts
industry and my place in it.”
Jason Guest (Dance 2011) joined the
European tour of Hair the Musical before
being cast in the in-house production of
Starlight Express in Bochum, Germany.
Photograph by Tino Kratochvil.
THE PROGRAMMES
2
1
Programme Content
Teaching and Assessment
Year 1: The Physical Body
Year 2: The Versatile Performer
You develop your technical body
through regular jazz, ballet and
contemporary dance classes and
have weekly classes in tap. Early on,
your body is diagnosed to help you
work to the best of your physical
potential and minimise injury.
Throughout the year, you study the
fundamentals of choreography and
dance fusions, which keeps
evolving to reflect the latest trends
in commercial dance. It includes
cross-cultural styles (for instance:
locking and popping, flamenco,
African dance, hip-hop), street
dance and combined art forms, plus
aspects of today’s West End. You
also take fundamental acting and
singing classes. At least once a
term, you participate in an informal
sharing of work to gain performance
experience. The year culminates
with an in-house performance in
one of our theatres. You will learn
about the context of the dance
world and undertake professional
development. Both will help you
develop a critical eye for dance and
understand collaboration.
Your physical mastery of technique
in jazz, ballet and contemporary
increases through higher levels of
difficulty and your tap classes
continue. Dance fusions heightens
skills in various dance styles.
Classes to enhance your secondary
skills in acting and singing continue
and are complemented by musical
theatre classes. The Performance
Project offers you experience in
working alongside musicians,
designers and technicians towards a
major performance. Your
understanding of context and
professional work continues to
complement the practical and
performance activities.
3
35
Year 3: The Professional
By the end of this year, you are
ready to work as a dancer.
Building upon the professional
standard of technical excellence,
you will be at your physical peak
and ready to deal with various
audition scenarios. External
professionals provide up to date
industry advice on developing
quality portfolios for agents and
choreographers. The final part of
context study encourages you to
explore elements of your own
research through practice,
investigating your professional
interests in dance and related
performance. You have a range of
performance opportunities for both
internal and external audiences,
including showcase opportunities
for industry professionals. These
shows are often contributed to by
some of today’s most talked about
choreographers. By now, you will be
putting your professional plan into
action so, as well as being ready to
go out and find work, you will be
equipped to create work for
yourself.
Our dance degree has approximately 16 hours of dance technique
per week, in addition to classes in acting and singing technique,
contextual studies and professional development. The majority of
technique classes are held in dance studios in our Hope Street
facility. You are continually assessed in practical classes with a final
presentation of work at the end of practical modules. Feedback is
provided in daily classes and after each term ends. Performance
projects are choreographed by our staff and, in the later stages of
the programme, by professionals currently working in the field.
You will be required to write essays, reports, evaluations and critical
reflections as well as a longer investigation in your last year.
Career Prospects
Our programme aims to provide you with the best opportunities
for gaining and sustaining employment in the commercial
dance/entertainment sector. Our graduates reflect sustained
employment, which includes work in musical theatre and current
West End and touring productions, commercial film, television
and music videos, as well as work with established reputable
dance companies.
Programme Structure
YR
1
YR
2
YR
3
Primary skills
Dance
Techniques 1
(includes Ballet,
Contemporary,
Jazz and Tap)
Dance Fusions 1
Principles of
Choreography
The Healthy
Dancer
Secondary
skills
Acting 1
Singing 1
Shared skills
The
Context 1
Professional
Development 1
Performance
Project 1
Primary skills
Dance
Techniques 2
(includes Ballet,
Contemporary,
Jazz and Tap)
Dance Fusions 2
Secondary
skills
Acting 2
Musical
Theatre
Workshop
Shared skills
Contextual
Studies 2
Professional
Development 2
Public
Performance
Project
Dance Techniques 3 (includes Ballet,
Contemporary, Jazz and Tap)
Dance Fusions 3
The Context 3
Professional Development 3
The Performance Company
The BA (Honours) Dance programme will be reviewed and revalidated prior to 2013
entry. As a result, there may be some changes to modules and delivery of classes
for 2013 entry.
36
THE PROGRAMMES
This is your chance to be
who you want to be
musically, learn about the
business, match your
music with an audience
and plan a working life
playing music. We will
also develop your musical
literacy and technical
skills. There are four
themes: music
performance, creation,
production, the music
business and the context
in which music happens.
GRADUATE VIEWPOINT
Poster image: a singersongwriter performing in one
of our 2ube sessions
streamed over the internet
1. An end of year assessed
performance
2. As well as drummers,
guitarists, keyboard
players and singers, we
have a wide range of
instrumentalists on the
course including brass,
strings and woodwind
3. Drummers are always in
demand for band work
4. A rehearsal session in one
of our five music practice
rooms
“LIPA provided me with the chance to meet and to
learn with many talented students from around
the world, many of whom I work with
professionally today. There was plenty of
interaction and collaboration between the
different disciplines, much as it is in the current
music business. It helped me see the industry as a
whole and to find my place within it.”
Scott Wibber (Music 2003) originally from
western Canada, has been playing bass in the UK
since graduating. Based in London, Scott's work with a variety of
different artists has seen him tour extensively throughout the UK,
Europe, North America and Japan. He has been featured in Bass
Guitar Magazine, and appeared on many studio recordings as well as
in live TV and radio performances in the UK and Canada. Scott is
currently the bassist and musical director for Sandi Thom, and has also
performed with artists such as Larry Carlton and Boy George.
THE PROGRAMMES
37
1
2
Teaching and Assessment
Programme Content
Year 1: Understanding the
Fundamentals
You have weekly one-to-one tuition
in your main instrument or in
singing (if you are a vocalist), and
take improvisation or vocal
workshops. You are encouraged to
form, and perform in, small bands
(rock, pop, creative, RnB, jazz, for
instance). There are also many
public and internal performance
opportunities, such as performing
in pit bands for musical theatre or
dance shows. You learn
songwriting and composition,
music production and
programming. You receive aural,
music scoring software, and Latin
and African percussion training.
You are introduced to business and
self-management concepts and
3
learn about the theoretical context
of developments in the production
and consumption of music over the
last 50 years.
Year 2: Skills Development and
Application
You continue developing your
instrumental skills at a more
advanced level through the same
range of classes and workshops.
You can specialise in either applied
composition or songwriting,
responding to real industry
situations. Your knowledge of and
skills in digital audio and
production is expanded by using
Pro-Tools and Logic. There is the
opportunity to develop your
professional practice in your
specialist area.
Year 3: Specialisation and
Professional Application
You undertake two major studentled projects from a choice of The
Music Creator: ComposerSongwriter, The Music Producer or
The Performer Musician. You are
expected to be working to a
professional standard and will
enjoy increased autonomy. You also
complete a Final Research Paper
on an aspect of music of particular
relevance to your craft and career.
Teaching methods include lectures, seminar groups, practical
workshops, one-to-one tuition and band rehearsal. Assessment
of practical work takes place in a range of rehearsal and
performance settings and you are required to submit songs,
compositions and productions for assessment throughout the
programme. Learning in years one and two is largely tutor-led.
You need to gradually assume a greater degree of responsibility
in managing your learning, so by your last year, learning is
largely industry focused, project-based and self-generated.
Career Prospects
We have strong links with the music industry and hold frequent
in-house auditions and showcases for record and publishing
companies. Our students have won many songwriting
competitions. Our graduates have achieved chart success across
the world, as writers, producers and performers. Many have
signed recording and publishing contracts. Career outcomes
include working as session musicians, as music producers and as
music writers for computer games and advert campaigns. In
addition, you are eminently qualified to pursue careers within
music education or within the wider world of business.
Programme Structure
YR
1
YR
2
4
YR
3
Instrumental or Vocal Technique 1
Music Production 1
Music Creation 1
Music Skills
Music Professional Practice 1
Shared skills
The Context 1
Professional Development 1
Instrumental or Vocal Technique 2
Music Production 2
Music Creation 2
Music Professional Practice 2
The Context 2
Shared skills
Professional Development 2
Professional Development 3:
Choose two options from:
The Performer Musician
Or
The Music Producer
Or
The Music Creator: Composer-Songwriter
The Context 3: Final Research Project
The BA (Honours) Music programme will be reviewed and revalidated prior to 2013
entry. As a result, there may be some changes to modules and delivery of classes
for 2013 entry.
38
THE PROGRAMMES
Q: What do actors, musicians,
dancers, bands, clubs, radio
stations, theatres, orchestras,
writers, TV and film and
production companies have in
common?
A: They all need highlyskilled, on-the-ball and
motivated managers to
ensure a successful future.
Our Music, Theatre and
Entertainment Management
programme equips you with
the skills to take your place at
the forefront of management
across the spectrum of the
performing arts.
GRADUATE VIEWPOINT
Poster image: first-year
manager (on the right)
running through briefing
with an actor on the Reel
Unknown secret film project
1. Second- and first-year
managers checking a
schedule for a See Me
Now graduate
conference during the
set-up
2. Second-year manager
working on The 2ube
Friday night music show
3. Groove on the Green is a
music festival organised
each year by first- and
second-year managers
4. Second-year managers
selling tickets for the
Graduation Ball
“I loved my time at LIPA – it
was great meeting and working
with like-minded people and
getting involved with such
interesting projects from the
MTV Europe Music Awards and
the Olivier Awards to local
charity galas. LIPA gave me a
world of opportunities, and the
icing on the cake was my Arts
Manager placement in the third
year. I ended up working with the same company after I graduated. The
degree has definitely equipped me with the essential skills – and the
confidence – needed to progress in the arts and entertainment industry.”
Matthew Campbell (Management 2011) works at Qdos Entertainment
as a production assistant in the pantomime division, helping produce
24 regional pantomimes throughout the UK and working with
producer Michael Harrison and household names including John
Barrowman, Brian Conley and Shane Richie.
THE PROGRAMMES
39
1
2
Programme Content
Year 1: The Fundamentals
Your first year educates you in all
aspects of music, theatre and
entertainment management. You
investigate issues of artistic
ownership through study of
contracts and copyright. You
explore ways to fund projects. You
gain an appreciation of marketing,
managing organisations, venue and
tour management, entertainment
law and managing finance. You also
collaborate on practical projects,
while developing transferable skills
like presentations and time
management.
Year 2: Applying the Skills
During this year, you extend your
strategic and financial
management knowledge, while
acquiring new skills in project
planning and gaining an
understanding of local and
international cultural policies. You
learn about managing people, the
production of music, theatre, dance
and entertainment and you author
your own business plan. You work
as part of a team responsible for
developing and managing a reallife project, such as a music festival,
a theatre production, conferences
and events or an A&R initiative.
Year 3: Becoming the Arts
Manager
A three-month work placement
offers practical experience in your
area and allows you to analyse an
organisation of your choice. You
research and present a paper at our
annual Contemporary Issues in Arts
Management conference. Finally,
you research and author a 12,000word management research paper,
about a topic chosen by you.
Teaching and Assessment
Teaching is delivered through lectures, workshops, personal
study and collaborative projects. Assessment is through practical
projects, portfolio submissions, written reports, exams,
evaluations and presentations.
Career Prospects
You will graduate as a versatile and independent manager able
to work in all areas of the music, theatre and entertainment
industries. Along with a healthy résumé, constructed during your
studies, you will have a clear vision of your career options and
strong relationships with valuable industry contacts. Our
excellent employment record confirms that our graduates are
working in a broad range of senior positions.
Programme Structure
YR
1
3
YR
2
4
YR
3
Management of Performance
Management Project
Entertainment Law
Marketing
Managing Organisations
Raising Funds and Managing Finance
Venue and Tour Management
Shared skills
The Context 1
Professional Development 1
The Context 2: Cultural Policy
Strategic Arts Management and
Business Planning
Financial and Performance Management
Practical Management Project
The Producers
Managing People
Shared skills
Professional Development 2
Professional Development 3: The Arts Manager
Organisational Analysis
The Context 3: Contemporary Issues in Arts
Management
Management Research Paper
The BA (Honours) Music, Theatre and Entertainment Management programme will
be reviewed and revalidated prior to 2013 entry. As a result, there may be some
changes to modules and delivery of classes for 2013 entry.
40
THE PROGRAMMES
To sustain your career in the sound industry,
being a multi-skilled practitioner is a necessity.
So, whether you see your future in recorded
sound, live sound or postproduction, we help you
develop skills in all these areas. We also equip
you to be adaptable and teach you in such a way
that you understand why you are doing things, as
well as what to do. It is only by having this
strong theoretical base, allied to practice, that
you can ensure that you can adapt to technical
change as it happens. Finally, although driven by
technology, the industry is about working with
people – without them, the technical tools have
no value. We provide the environment, the
people and the tools to learn all these things.
You also have 24/7 access to our studios during
term-time.
GRADUATE VIEWPOINT
Poster image: our
flagship recording
facility – the George
Martin Studio
1. Live sound in the
Paul McCartney
Auditorium
2. Studio 5 is one of
our two 5.1 capable
mix studios
3. Get in for a largescale music gig
4. Theory which
informs practice is
an important part
of the programme
“The Sound
Technology
programme offers a
brilliant start to a
career in the audio
industry. It combines
detailed theory with
access to exactly the
same technology that
you find in the 'real world'. By putting students
together to collaborate on technically complex shows,
you allow them to make mistakes and learn from them
in a safe environment, before getting it right really
counts.”
Daniel Higgott (Sound Technology 2007) is currently
Deputy Head of Sound for Wicked at the Apollo
Victoria. His previous West End work has included
Phantom of the Opera and Oliver! The Musical.
THE PROGRAMMES
41
1
2
Teaching and Assessment
Teaching on the programme is a combination of formal lectures,
smaller group seminars and even smaller practical workshop
sessions. Assessment is by a combination of exams, written
papers or seminar presentations, practical production work and
continuous assessment. On balance, though, practical work
forms the largest percentage of your assessed work.
Programme Content
Year 1: Sound Foundations
You are introduced to core
operational skills and their
theoretical underpinnings in the
three core areas of work – studio
operations and recording, desktop
production and sound
reinforcement. In addition, we
introduce specialised areas of work
such as audio equipment
maintenance. You are also taught
with, and work alongside students
from other disciplines developing
an understanding of the context of
the entertainment industries and
professional development skills.
Year 2: The Multi-skilled
Practitioner
The three core areas of work
covered in your first year are
developed to higher levels, with
the focus shifting to digital tools
and consoles in recording and
sound reinforcement. You also
learn about specialised
applications of sound production
and engineering, such as
Career Prospects
multichannel audio and audio
postproduction for television and
video. In addition, you study topics
such as production and
management skills in the context
of the audio and entertainment
industries. You also continue your
own professional and personal
development, including
collaborative practical work with
students from other disciplines.
Sound Technology graduates are working in live sound and
theatre sound design, recording studio engineering and
production, audio systems design, broadcast engineering, audio
mastering, sound for film and television and computer game
audio. In addition, many of our graduates have set up their own
successful companies in these areas.
Programme Structure
YR
1
Year 3: The Professional
By your third year, you will be
expected to work to professional
standards on major practical
projects with other students and for
external clients, using the high
levels of technical skill and
discipline you have garnered.
Through a choice of options, you
can specialise in particular fields or
broaden your skill base in a
number of areas closely associated
with sound engineering and
production. You also complete a
substantial research project
supervised by a tutor.
YR
2
YR
4
3
3
Core Recording Skills
Sound Technology Theory
Desktop Audio 1
Sound Reinforcement
Audio Equipment Maintenance
Audio Signal Processing
Shared skills
The Context 1
Professional Development 1
Advanced Studio Techniques
Desktop Audio 2
Sound Reinforcement 2
Critical Listening
Sound Design for Film, Television and Video
Sound Technology Theory 2
The Context 2: The Producer
Shared skills
Professional Development 2
The Context 3: Research Project
Final Project Portfolio
Professional Development 3
Choice of 3 from:
Advanced Live Sound
Classical and Location Recording
Composition and Arranging
Desktop Audio 3
Multimedia Design
Broadcast Audio
Studio Design
Video Production
The BA (Honours) Sound Technology programme will be reviewed and revalidated
prior to 2013 entry. As a result, there may be some changes to modules and
delivery of classes for 2013 entry.
42
THE PROGRAMMES
You will leave with the skills,
knowledge and confidence to
build a career as a designer
within the performing arts.
You will be seen as creative,
ambitious and multi-skilled,
equally at home designing
the set and costume for a
theatre production or leading
a site-specific performance
event or creating the
environment or lighting for a
music gig. This is a practical
programme with a strong
emphasis on realised
performance work every year.
GRADUATE VIEWPOINT
Poster image: fog bird
costume created for
second-year Costume
Props specialism
1. Stencilling and painting
effects on the set for
Time and the Conways
2. The realised set and
costumes for A Streetcar
Named Desire
3. The Living Portraits
exhibition demonstrates
the skills that students
have applied in their
Making Skills: Costume
and Props first-year
module
“Studying at LIPA enabled me to develop
the skills necessary to work as a freelance
theatre set and costume designer for
plays, musicals, opera and ballet. I was
able to immerse myself in a variety of
work in a variety of genres and was
surrounded by a group of very talented
individuals all striving to achieve. I’ve
enjoyed a lot of luck ever since I
graduated, but I’ve also worked incredibly
hard to realise my dreams and ambitions.”
Morgan Large (Theatre and Performance Design 2003) is a
theatre designer who recently designed the West End dance
production Midnight Tango and Othello at Sheffield Crucible.
Other recent credits include the UK tour of The Diary of Anne
Frank and the world tour of I Dreamed a Dream. He also
designed the West End shows Fame, Footloose and
Flashdance.
THE PROGRAMMES
43
1
2
Programme Content
Year 1: Making and Creating
This year offers you a blend of key
disciplines, combining imaginative
interpretation with specific
technical knowledge. You are
introduced to a wide range of
practical skills, including costume
making, prop making, model
making, as well as scenic
construction, scene painting,
technical drawing and CAD. You
work on our public performances
throughout the year in a variety of
creative roles, including stints in
the scenic workshop and the
wardrobe department, linked
directly to your subject study.
Regular production meetings and
seminars introduce you to the finer
detail of the production process
and, integration with the Theatre
and Performance Technology
degree, means you acquire
technical knowledge to support
your design work. You examine
current trends in theatre and
entertainment practice through
The Context and work with a
professional director on a
hypothetical design project.
Year 2: Focusing and
Experimenting
You are given more responsible
and creative roles on performance
projects this year, working as
assistant designers to third years or
as designers in your own right.
Vocational Skills projects give you
the opportunity to experiment and
deepen your knowledge in subjects
such as Costume Props, Costume
Construction, Puppetry, Live Art,
Stage Effects, Lighting or AV
Design. You work on another
design project with an external
director and the year culminates
with a placement that gives an
opportunity to test career options
and explore new working
environments out in the
professional world.
Year 3: Initiating and Leading
This year should act as a
springboard for your career and
gives you an opportunity to further
develop a broad range of skills or to
specialise in a certain area of work.
Two major practical roles give you
the material for your professional
portfolio and hone your leadership
and creative skills. These can also
offer the opportunity to develop
your own work or collaborate with
external organisations and spaces.
Employment and enterprise
sessions show you how to apply for
jobs and forge a successful path as
a freelance artist. You demonstrate
the maturity of your
communication and analysis skills
in a final research project, exploring
an area of your choice in depth.
Teaching and Assessment
We start with lectures, seminars and practical workshops to
teach a range of basic design skills in the first year and increase
your visual vocabulary. Learning is also integrated practically
with crew work on the major performances. You take on more
responsibilities as your time here progresses, starting up your
own projects where you wish to try new techniques or taking up
more senior creative roles on the main shows. Most of your work
involves developing sets, costumes and props for performance
and writing evaluations of your own practical work. Throughout
the programme, your practical contribution is continually
appraised on both the working process and presentation of your
realised design.
Career Prospects
You will possess an extensive range of skills and experience in
performance design and an in-depth knowledge of the arts and
entertainment economy that will equip you for a fulfilling and
successful career in this exciting and challenging field of work.
Many graduates are enjoying careers in fields such as theatre
design, architectural lighting, art direction for film and TV, prop
making, museum design, concert lighting and costume design,
making and maintenance.
Programme Structure
YR
1
YR
2
3
YR
3
Design and Construction Skills
Essential Lighting
Making Skills: Costume and Props
Design from Text 1
Fundamental Skills
Shared skills
The Context 1
Professional Development 1
The Production Process
Placement Project
Design from Text 2
CAD and Computer Visualisation
The Context 2
Vocational Skills
Shared skills
Professional Development 2
Vocational Practice
Design from Text 3
Advanced Visual Presentation
The Context 3: Research Project
Professional Development 3
The BA (Honours) Theatre and Performance Design programme will be reviewed
and revalidated prior to 2013 entry. As a result, there may be some changes to
modules and delivery of classes for 2013 entry.
44
THE PROGRAMMES
Performance and
entertainment technology
plays a key role in the live
arts, from traditional theatre
to music festivals, corporate
events and cruise ships. You
need to be multi-skilled in
this increasingly competitive
field, so this programme
builds from a broad base of
practical theatre knowledge
to introduce you to wider
areas of media, arts and
event production, where
skills can be transferred to
great effect.
GRADUATE VIEWPOINT
Poster image: third-year
students working as
lighting designer and chief
electrician during the
lighting plotting of a show
1. Second-year student
mixing the live sound
during our production of
A Small Family Business
2. First-year student
working in construction,
finishing the set
3. Deputy Stage Manager
calling Sweeney Todd
4. The lighting of the final
scene of Elegies: A Song
Cycle
“I graduated with a wealth of experience
which I still draw upon to this day. LIPA
provided me with the support to not only
expand my knowledge but also to grow in
confidence. I remember the occasion where
my desire to chief LX yet another show was
kindly declined as they thought I should turn
my skills to lighting design. I bit the bullet
and accepted. Four years on, I am now lucky enough to be working as an
assistant lighting designer alongside some of the greatest designers in
the industry.”
Miriam Evans (Theatre and Performance Technology 2006) has been
the Design Assistant to Adam Bassett and Patrick Woodroffe since
2007. She has been working on a broad range of projects from
theatrical and concert designs to architectural installations around the
world. Among these are Wynn Encore Las Vegas, Take That Progress
Tour and Batman Live. She is currently working with Adam and
Patrick on the lighting for the London 2012 Olympic Ceremonies.
THE PROGRAMMES
45
1
2
Programme Content
Year 1: Multi-skilling for a
Challenging Workplace
Theatre production is exciting
because of the complexity and
spontaneity of live events. To break
into the business, you need a
flexible attitude and a wide range of
skills. Your first year introduces you
to lighting, stage management, live
sound, technical drawing, CAD and
scenic construction, to arm you
with a broad base of basic
knowledge. You work on our public
performances throughout the year
in a variety of crewing roles, linked
to subject study. Regular production
meetings and seminars introduce
you to the mechanics of the
production process. You also
develop planning and study skills in
Professional Development and look
at current trends in entertainment
production practice in The Context.
Year 2: Focusing your
Enthusiasm
You are given more responsible and
creative roles and need to deepen
your skills to rise to the challenge.
You choose the areas you wish to
concentrate on to develop your
knowledge from a range of
Vocational Skills projects which
explore sound, lighting design and
technology, stage effects, AV
design, puppetry, or site-specific
production. Your classes in
Production Management enhance
your planning and budgeting skills,
as well as showing you how to deal
with Health and Safety legislation
4
in the theatre. Finally, a placement
project, in one or more professional
workplaces, helps you to test your
career options and explore new
working environments.
Year 3: Professionalism into
Practice
Your final year prepares you for the
first steps of your career, whether
you wish to keep a broad range of
skills and options or to specialise in
a certain role or area of work. Two
senior production jobs will give you
a head start on your CV, as well as
the opportunity to lead your own
projects. Employment and
enterprise sessions show you how
to apply for new jobs successfully,
or how to pitch for work as a
freelancer and manage yourself as a
small business. The 21st Century
Venue examines new technological
developments and pressures facing
the modern production
environment. You demonstrate the
maturity of your communication
and analytical skills in the final
research project, exploring an area
of your choice in depth.
Teaching and Assessment
We start with practical workshops, seminars and lectures to
introduce a range of technical topics and safe working practice.
Your learning is integrated throughout the year within our public
performance programme and other realised projects for a live
audience, so that you become used to working to a deadline and
under show conditions. You take on more official assessed
responsibility through years two and three, but can also
volunteer for tasks that are more senior from the beginning to
build your experience. You write evaluations of your work and
placement projects in the first two years and then must
articulate what you learned verbally in your final year, to debrief.
Other assessment is a mixture of portfolio projects, continual
assessment and practical observation.
Career Prospects
Typical destinations are working in theatre production, lighting
and management, touring lighting design for music, musical
theatre sound, opera stage management and production
management for events. Individual graduates are working in
stadium stage automation, CAD for architecture and events,
aerial rigging for Cirque du Soleil, technical management for
cruise ships and multipurpose venues, broadcast camera, radio
production, lighting at the National Theatre and stage
management at the RSC.
Programme Structure
YR
3
1
YR
2
3
YR
3
Design and Construction Skills
Essential Lighting
Essential Sound
Essential Stage Management
Fundamental Skills
Shared skills
The Context 1
Professional Development 1
The Production Process
Placement Project
Production Management
Vocational Skills
Professional Development 2
CAD and Computer Visualisation
Shared skills
The Context 2
Vocational Practice
The 21st Century Venue
The Context 3: Research Project
Professional Development 3
The BA (Honours) Theatre and Performance Technology programme will be
reviewed and revalidated prior to 2013 entry. As a result, there may be some
changes to modules and delivery of classes for 2013 entry.
NO
NON-DIRECTIONAL
NAL
MICS AND
AND HANDY
HANDY
MOUNT
CLIP MOU
NT
X-Y
X PRO MICSS
AND WIRELESS
AND
REMOTE CONTROL
CONTROL
TTHE
HE C
COMBINATION
O M B I N AT I O N OF
OF Q
QUALITY
U A L I T Y AND
A N D CONVENIENCE
CONVENIENCE
The smallest, most versatile pocket recorders
Low power requirements
C24:
C24: 37.6
37.6 x 113
113 x 21.1mm/57g
21.1mm/57g
W24:
W24: 46.5
46.5 x 129.5
129.5 x 17.5mm/92g
17.5mm/92g
C24:
C24: continuous
continuous recording
recording around
around 26
26 hrs
hrs (MP3)
(MP3)
W24:
W24: ccontinuous
ontinuous rrecording
ecording around
around 56
56 hhrsrs (MP3)
(MP3)
Built in metronome & tuner 2Gb inter
internal
nal storage PLUS
microSD card expansion slot
Cubase AI included for
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48
THE PATHWAY
Entry
requirements
Welcoming everyone.
This means we will welcome your
application regardless of your sex, gender
identity, race, ethnic or national origin,
marital or civil partnership status, family
responsibility, disability, religion or beliefs,
sexual orientation or social background.
No doubt we could add more categories
to the list. The point we want to make is
that we are committed to widening
access and to attracting the very best
students. If you join us, you’ll find
everyone is respected and treated fairly
regardless of irrelevant characteristics or
distinctions.
What are we looking for?
For us, the number one priority is your
ability, talent and potential in your
chosen programme. So, we take a holistic
approach to assessing you. We take five
factors into account as explained in the
charts on pages 48 to 50.
Age and mature students.
To apply to our degree or certificate
programmes, we would usually expect
you to be aged 18 or over on 1st
We value diversity. We want people
of different nationalities, age ranges,
ethnic and social backgrounds to
study here.
September in the year that you wish to
begin your studies. There is no upper age
limit. If you are aged 21 or over, you will
be classed as a mature student. Mature
students may not have the qualifications
listed on the next pages but, if they have
substantial experience in the area that
they wish to study in, that can be
accepted instead of formal qualifications.
International students.
We recognise a wide variety of
qualifications obtained overseas and are
able to translate overseas grades and
transcripts to UK equivalents. If English is
not your first language, you may be asked
at the interview or audition stage to
provide evidence of your linguistic ability.
The following may be acceptable
evidence of your proficiency in English:
៉ IELTS (International English Language
Testing Service): average score of 6.0 or
above, and for each component,
5.5 or above
៉ International GCSE English as a Second
Language grade C
៉ TOEFL (Test of English as a Foreign
Language) paper-based test minimum
score 560, computer-based test
minimum score 220, internet-based
test minimum score 83
៉ PTE Academic (Pearson Test of English
Academic): minimum score 51
If you have another qualification which
you think may be equivalent, let us know.
As a member of UK NARIC, we can
quickly advise you if it is equivalent or
not. You may be asked as a condition of
your offer to provide evidence that you
have already attained one of the above
(or equivalent) qualifications or be asked
to take the IELTS/TOEFL/PTE Academic
examination within a specified time to
attain a specified result.
Safeguarding children and
vulnerable adults.
For certain programmes, such as
Community Drama, offers made may be
subject to satisfactory enhanced Criminal
Records Bureau clearance.
THE PATHWAY
49
Acting
Community
Drama
Dance
EDUCATION
EDUCATION
tariff score 180
EDUCATION
tariff score 180
You will need five GCSE passes at a
minimum grade C or above. These should
include Maths and English Language.
PLUS
A minimum of 180 UCAS tariff points,
which could be as follows:
៉ B, C from two A-Levels. All A-Level
subjects accepted, excluding General
Studies. Points from AS Levels and Key
Skills are not counted towards tariff
points
Merit,
Merit, Pass profile from BTEC
៉
National Diploma Level (equivalent to
200 tariff points), Merit, Pass, Pass profile
(equivalent to 160 tariff points) may be
considered
៉ All equivalent UK and overseas
qualifications are accepted also,
including Advanced Diplomas, Irish
Leaving Certificate, Scottish Highers,
Welsh Baccalaureate, European and
International Baccalaureate, Abitur,
Vitnemål and SAT.
tariff score 180
You will need five GCSE passes at a
minimum grade C or above. These should
include Maths and English Language.
PLUS
A minimum of 180 UCAS tariff points,
which could be as follows:
៉ B, C from two A-Levels. All A-Level
subjects accepted, excluding General
Studies. Points from AS Levels and Key
Skills are not counted towards tariff
points
៉ Merit, Merit, Pass profile from BTEC
National Diploma Level (equivalent to
200 tariff points), Merit, Pass, Pass
profile (equivalent to 160 tariff points)
may be considered
All
equivalent UK and overseas
៉
qualifications are accepted also,
including Advanced Diplomas, Irish
Leaving Certificate, Scottish Highers,
Welsh Baccalaureate, European and
International Baccalaureate, Abitur,
Vitnemål and SAT.
EXPERIENCE
Your passion and commitment to acting
would be demonstrated through having
already performed in a range and variety
of acting roles. These may have been in
or outside your school/college
environment and/or at professional level.
We recognise that some geographic
areas don’t offer such possibilities, so
signs of commitment and enterprise in
seeking work and experience will also
support your application.
INTERDISCIPLINARY EXPERIENCE
We are looking for evidence that you
have a trainable ability in a second skill
other than acting, particularly in singing
or dancing. Other skills are also welcome
including writing and directing.
COMMUNICATION SKILLS
As communication skills are so important
in the performing arts, the ability to
communicate effectively is essential.
ENTERPRISE
We are looking for evidence that you are
able to work on your own initiative. Good
examples may be projects you have been
involved with that are not part of your
school qualifications.
You will need five GCSE passes at a minimum
grade C or above.
PLUS
A minimum of 180 UCAS tariff points, which
could be as follows:
៉ B, C from two A-Levels. All A-Level subjects
accepted, excluding General Studies. Points
from AS Levels and Key Skills are not
counted towards tariff points
៉ Merit, Merit, Pass profile from BTEC
National Diploma Level (equivalent to 200
tariff points), Merit, Pass, Pass profile
(equivalent to 160 tariff points) may be
considered
៉ All equivalent UK and overseas
qualifications are accepted also, including
Advanced Diplomas, Irish Leaving
Certificate, Scottish Highers, Welsh
Baccalaureate, European and International
Baccalaureate, Abitur, Vitnemål and SAT.
EXPERIENCE
You should have two types of experience:
performance experience (someone who can
demonstrate an expressive capability in
drama) and experience of taking part in
community arts projects – whether as a
participant or as someone involved in helping
to organise this work. Experience of leading
workshops is ideal, but not essential. It is most
important to demonstrate an understanding of
what might be involved and an interest in
developing your skills in this area. We
recognise that some geographic areas don’t
offer such possibilities, so signs of
commitment and enterprise in seeking work
and experience will also support your
application.
INTERDISCIPLINARY EXPERIENCE
Experience in other performing arts skills
(e.g., movement and music) is desirable.
However, an interest and commitment to
developing your versatility may be acceptable,
if you have not had the opportunity to develop
these skills.
COMMUNICATION SKILLS
As communication skills are so important in
performing arts, the ability to communicate
effectively is essential.
ENTERPRISE
We are looking for evidence that you are able
to work on your own initiative. Good examples
may be projects you have been involved with
that are not part of your school qualifications.
EXPERIENCE
You should have experience across a range
of dance forms (such as jazz, street,
contemporary dance and/or ballet).
Experience of other dance techniques such
as tap is desirable, but not essential. Your
passion and commitment to dance is also
important, which would be demonstrated
through having already performed in a
range of roles in dance projects and
productions. We recognise that some
geographic areas don’t offer such
possibilities, so signs of commitment and
enterprise in seeking work and experience
will also support your application.
INTERDISCIPLINARY EXPERIENCE
We are looking for evidence that you have
a trainable ability in a second skill other
than dance, particularly in singing and
acting. Other skills are also welcome.
COMMUNICATION SKILLS
As communication skills are so important in
performing arts, the ability to communicate
effectively is essential.
ENTERPRISE
We are looking for evidence that you are
able to work on your own initiative. Good
examples may be projects you have been
involved with that are not part of your
school qualifications.
50
THE PATHWAY
Music
Music, Theatre
and Entertainment Management
EDUCATION
tariff score 300
You will need five GCSE passes at a minimum grade C or above.
These should include Maths and English Language.
PLUS
We usually expect you to achieve 300 UCAS tariff points from your
Level 3 qualifications – one of these should normally include a Music
and/or Music Technology qualification. The UCAS tariff points might
be broken down as follows:
EDUCATION
tariff score 240
You will need five GCSE passes at a minimum grade C or above.
These should include Maths and English Language.
PLUS
A minimum of 240 UCAS tariff points, which could be as follows:
៉ B, B, B from three A-Levels. We do not accept General Studies.
Points from AS Levels and Key Skills are not counted towards
tariff points
៉ Distinction, Distinction, Merit profile from BTEC National Diploma
Level (equivalent to 320 tariff points), Distinction, Merit, Merit
profile (equivalent to 280 tariff points) may be considered
៉ All equivalent UK and overseas qualifications are accepted also,
including Advanced Diplomas, Irish Leaving Certificate, Scottish
Highers, Welsh Baccalaureate, European and International
Baccalaureate, Abitur, Vitnemål and SAT.
We expect all students to have acquired a good working
understanding of music theory so ask you to have attained Grade 7
London College of Music (LCM) Popular Music Theory or equivalent
by the time you enrol with us. You don’t need to have achieved this
at the time you apply or by the time you audition. Exams are usually
held in November and June, although you need to register some time
in advance for the exam. We consider a Merit in Unit 27: Music
Theory & Harmony BTEC National Diploma as equivalent to the LCM
Grade 7. Overseas students are considered on an individual basis and
may be tested on their music theory ability at the audition stage.
EXPERIENCE
You should have performance experience (e.g., solo, band, choir
and gigs). You should also have experience of writing songs,
compositions or arrangements or have an interest in developing
these skills. You may also have experience or a strong interest in
music production and music technology. We recognise that some
geographic areas don’t offer such possibilities, so signs of
commitment and enterprise in seeking work and experience will
also support your application.
INTERDISCIPLINARY EXPERIENCE
Some of our students come to us with experience of working in
other areas of the performing arts, such as a secondary
performance skill, the management of projects – such as band
promotion – or involvement in technical aspects of performance.
Not all candidates have this experience, but all candidates should
be able to demonstrate interest and knowledge in other art forms.
COMMUNICATION SKILLS
As communication skills are so important in performing arts, the
ability to communicate effectively is essential.
ENTERPRISE
We are looking for evidence that you are able to work on your
own initiative. Good examples may be projects you have been
involved with that are not part of your school qualifications.
៉ C, C, C from three A-Levels. All A-Level subjects accepted,
excluding General Studies. Points from AS Levels and Key Skills are
not counted towards tariff points
៉ Merit, Merit, Merit profile from BTEC National Diploma Level
៉ All equivalent UK and overseas qualifications are accepted also,
including Advanced Diplomas, Irish Leaving Certificate, Scottish
Highers, Welsh Baccalaureate, European and International
Baccalaureate, Abitur, Vitnemål and SAT.
EXPERIENCE
We are looking for experience of managing relevant projects. Some
examples might be providing front of house or box office support to
productions, promoting bands, publicising shows or helping with any
aspect of event organisation. These may be in your school/college
environment. Work experience in the music, theatre or entertainment
industry on a paid or voluntary basis also helps demonstrate your
commitment. We recognise that some geographic areas don’t offer
such possibilities, so signs of commitment and enterprise in seeking
work and experience will also support your application.
INTERDISCIPLINARY EXPERIENCE
Examples of these might be experience in sound, lighting or design or
experience as a musician, actor or dancer. Most important is a broad
interest in the music, theatre and entertainment industry and a desire
to work collaboratively.
COMMUNICATION SKILLS
As communication skills are so important in performing arts, the
ability to communicate effectively is essential.
ENTERPRISE
We are looking for evidence that you are able to work on your own
initiative. Good examples may be projects you have been involved
with that are not part of your school qualifications.
THE PATHWAY
51
Sound
Technology
Theatre and
Performance Design
Theatre and
Performance Technology
EDUCATION
tariff score 280
You will need five GCSE passes at a minimum
grade C or above. These should include Maths,
English Language and Physics/Science.
PLUS
A minimum of 280 UCAS tariff points, which
could be as follows:
៉ B, B, C from A-Levels. All A-Level subjects
accepted, excluding General Studies. Points
from AS Levels and Key Skills are not
counted towards tariff points
EDUCATION
tariff score 180
We normally expect applicants to
successfully complete a Foundation Studies
course in Art and Design or an equivalent
course at pre-degree level. Some applicants
may be admitted directly after their Level 3
qualifications, but will need to demonstrate
more substantial experience in art and
design, including relevant theatre design
experience. You will also need five GCSE
passes at a minimum grade C or above. These
should include Maths and English Language.
PLUS
A minimum of 180 UCAS tariff points, which
could be as follows:
EDUCATION
tariff score 180
You will need five GCSE passes at a
minimum grade C or above. These should
include Maths and English Language.
A minimum of 180 UCAS tariff points,
which could be as follows:
៉ B, C from two A-Levels. All A-Level
subjects accepted, excluding General
Studies. Points from AS Levels and Key
Skills are not counted towards tariff
points
៉ Distinction, Merit, Merit profile from BTEC
National Diploma Level
៉ All equivalent UK and overseas
qualifications are accepted also, including
Advanced Diplomas, Irish Leaving
Certificate, Scottish Highers, Welsh
Baccalaureate, European and International
Baccalaureate, Abitur, Vitnemål and SAT.
EXPERIENCE
We are looking for evidence of your experience
in at least one if not more of the following
fields: music recording, live sound work, sound
design in theatre or sound installation work,
radio production. We need to know what roles
you have played in these and what equipment
you have worked with. Home recording using
computer-based systems is acceptable. We
prefer candidates who can demonstrate a
breadth of experience in several areas, and
experience that is not confined to school or
college course work. We recognise that some
geographic areas don’t offer such possibilities,
so signs of commitment and enterprise in
seeking work and experience will also support
your application.
INTERDISCIPLINARY EXPERIENCE
Some of our students are also musicians. That
is not essential but an appreciation of music or
other forms of audio production is. Other
examples of interdisciplinary experience might
be lighting experience, video or film
production, design (such as web and animation
work), organising gigs or band promotion. All
candidates should be able to demonstrate an
interest in and knowledge of other art forms.
COMMUNICATION SKILLS
As communication skills are so important in
performing arts, the ability to communicate
effectively is essential.
ENTERPRISE
We are looking for evidence that you are able
to work on your own initiative. Good examples
may be projects you have been involved with
that are not part of your school qualifications.
៉ B, C from two A-Levels. All A-Level subjects
accepted, excluding General Studies. Points
from AS Levels and Key Skills are not
counted towards tariff points
៉ Merit, Merit, Pass profile from BTEC
National Diploma Level (equivalent to 200
tariff points), Merit, Pass, Pass profile
(equivalent to 160 tariff points) may be
considered
៉ All equivalent UK and overseas
qualifications are accepted as with other
programmes.
EXPERIENCE
We are looking for experience of working in
different art forms, including 3D work in
addition to 2D work and evidence of your
ability to experiment with a variety of media.
It is desirable to have experience in one or
more areas of theatre or performance design
but not essential. We recognise that some
geographic areas don’t offer such possibilities,
so signs of commitment and enterprise in
seeking work and experience will also
support your application.
INTERDISCIPLINARY EXPERIENCE
All candidates should be able to demonstrate
an interest in and knowledge of performing
art forms, including the live and visual arts,
along with an interest in and aptitude for
working collaboratively.
COMMUNICATION SKILLS
As communication skills are so important in
performing arts, the ability to communicate
effectively is essential.
ENTERPRISE
We are looking for evidence that you are able
to work on your own initiative. Good
examples may be projects you have been
involved with that are not part of your school
qualifications.
៉ Merit, Merit, Pass profile from BTEC
National Diploma Level (equivalent to
200 tariff points), Merit, Pass, Pass
profile (equivalent to 160 tariff points)
may be considered
៉ All equivalent UK and overseas
qualifications are accepted also,
including Advanced Diplomas, Irish
Leaving Certificate, Scottish Highers,
Welsh Baccalaureate, European and
International Baccalaureate, Abitur,
Vitnemål and SAT.
EXPERIENCE
We are looking for evidence of
experience in one or more areas of
backstage production. We prefer
candidates who can demonstrate a
breadth of experience, which can be in
school or college, or in independent or
professional theatre. We recognise that
some geographic areas don’t offer such
possibilities, so signs of commitment and
enterprise in seeking work and
experience will also support your
application.
INTERDISCIPLINARY EXPERIENCE
It is important to be able to demonstrate
an interest in and aptitude for working
collaboratively. You will ideally have
gained some interdisciplinary experience.
Examples could be organising gigs, band
promotion, web design/animation work,
Vjing, Djing, or even some performance
experience.
COMMUNICATION SKILLS
As communication skills are so important
in performing arts, the ability to
communicate effectively is essential.
ENTERPRISE
We are looking for evidence that you are
able to work on your own initiative. Good
examples may be projects you have been
involved with that are not part of your
school qualifications.
52
THE PATHWAY
Howandwhentoapply
For UK and EUapplicants
LIPA Foundation Certificate in Acting and Musical Theatre
You need to complete a LIPA application form.
Timing: We would recommend that you apply between 1st September 2012
and 15th January 2013, although in previous years we have accepted later
applications to this programme.
LIPA Foundation Certificate in Commercial Dance
You need to complete a LIPA application form.
Timing: We would recommend that you apply between
1st September 2012 and 15th January 2013, although in
previous years we have accepted later applications to this programme.
LIPA Foundation Certificate in Popular
Music and Sound Technology
You need to submit a LIPA application form with a recording
of your work, which is no longer than 15 minutes.
Timing: We would recommend that you apply between
1st September 2012 and 15th January 2013, although
in previous years we have accepted later
applications to this programme.
BA (Honours) Acting
You should simply apply via UCAS initially. If we invite you to an
audition you will be asked to supply further information in
advance of your audition.
Timing: You should apply to UCAS between 1st September 2012
and 15th January 2013. Any applications for this programme
received after 15th January 2013 are unlikely to be considered.
BA (Honours) Community Drama
You should apply via UCAS and must also submit a LIPA
application form to us.
Timing: You should apply to UCAS between 1st September 2012
and 15th January 2013. You should submit your LIPA application
form to us between 1st September 2012 and 15th January 2013.
BA (Honours) Dance
You should simply apply via UCAS initially. If we invite you to an
audition you will be asked to supply further information in
advance of your audition.
1. Street dance pose
2. Costume design
based on a Hans
Christian Andersen
character
Timing: You should apply to UCAS between 1st September 2012
and 15th January 2013. Any applications for this programme
received after 15th January 2013 are unlikely to be considered.
THE PATHWAY
BA (Honours) Music
You should apply via UCAS initially. If you have met our basic
entry requirements, we will then send you detailed instructions,
inviting you to submit further information, which is likely to be
three music tracks and a biography, before making a decision
about whether or not to invite you to audition in person.
Timing: You should apply to UCAS between 1st September 2012
and 15th January 2013. Any applications for this programme
received after 15th January 2013 are unlikely to
be considered.
BA (Honours) Music, Theatre and
Entertainment Management
You should apply via UCAS and must also
submit a LIPA application form to us.
Timing: You should apply to UCAS between
1st September 2012 and 15th January 2013.
You should submit your LIPA application
form to us between 1st September 2012
and 15th January 2013.
BA (Honours) Sound Technology
You should apply via UCAS and must
also submit a LIPA application form to us.
Timing: You should apply to UCAS
between 1st September 2012 and
15th January 2013. You should
submit your LIPA application
form to us between
1st September 2012 and
15th January 2013.
53
BA (Honours) Theatre and Performance Design
You should apply via UCAS and must also submit a LIPA
application form to us.
Timing: You should apply to UCAS between 1st September 2012
and 24th March 2013. You should submit your LIPA application
form to us between 1st September 2012 and 24th March 2013.
BA (Honours) Theatre and Performance Technology
You should apply via UCAS and must also submit a LIPA
application form to us.
Timing: You should apply to UCAS between 1st September 2012
and 15th January 2013. You should submit your LIPA application
form to us between 1st September 2012 and 15th January 2013.
For applicants
outside the EU
For all of our degree programmes you should apply to
LIPA by completing an international LIPA
application form and should also apply via UCAS.
For our certificate programmes you only need to
apply to LIPA by completing an international LIPA
application form.
Timing: We would recommend that you apply
between 1st September 2012 and 28th
February 2013. Whilst we don’t have a
deadline for candidates outside the EU, we
would still urge you not to leave it too
late in the academic year before applying
as our programmes do fill up quickly.
Contact us
Tel: +44 (0)151 330 3000
Fax: +44 (0)151 330 3131
Textphone: +44 (0)151 330 3055
email: [email protected]
54
THE PATHWAY
Guidance for applying to UCAS
UCAS stands for the Universities and Colleges Admissions Service. It only accepts
applications online. You will find comprehensive guidance at www.ucas.com to help
you through the process of submitting an application. Further advice and guidance is
available from the UCAS Customer Service Unit on +44 (0)871 468 0468, Monday to
Friday, 08:30–18:00. The application fee for this service for 2012 entry was £22 if
applying to more than one university programme or £11 for one university choice.
When completing the UCAS application form online you need to provide certain codes
as follows:
LIPA's institution code is LIVIN
Our institution number is L48
Each degree programme has a code number and abbreviation
BA (Hons) Acting
W410
BA/ACTING
BA (Hons) Community Drama
W491
BA/CD
BA (Hons) Dance
W500
BA/DANCE
BA (Hons) Music
W300
BA/MUSIC
BA (Hons) Music, Theatre and
Entertainment Management
W450
BA/MANAGE
BA (Hons) Sound Technology
HW63
BA/ST
BA (Hons) Theatre and
Performance Design
W460
BA/DESIGN
BA (Hons) Theatre and
Performance Technology
W461
BA/TPT
FAQs
How many programmes can
I apply to?
On your UCAS form you can apply for up to
five choices of undergraduate programmes.
You are welcome to apply to more than one
degree programme here. You can also apply
to our certificate programme at the same time
that you apply to a degree programme here,
but you will need to complete all sections of
the LIPA application form.
What happens if I miss the deadline
for applying?
There is a high demand for places at LIPA, so if
you miss these deadlines please contact the
Admissions Team.
Do you take deferred entry?
We do not accept applications for deferred
entry on any of our programmes. You need to
apply in the same academic year that you
wish to study here. So, if you want to start
your studies in September 2014, you should
apply between 1st September 2013 and 15th
January 2014.
TOP TIP
Please keep a photocopy of your completed
LIPA application form.
Contact us
Tel: +44 (0)151 330 3000
Fax: +44 (0)151 330 3131 Textphone: +44 (0)151 330 3055
email: [email protected]
Dancers performing in
Breaking Boundaries
THE PATHWAY
Whathappens
after you
haveapplied
55
We assess your application(s) very
carefully against our entry criteria and
decide whether to invite you to an
audition or interview event.*
1
We do not audition/interview everyone who applies,
so it is important that you take the time to complete
your application(s) to the best of your ability. If we
are inviting you to attend an audition/interview, we
will send you guidelines to help you prepare.
There are four possible outcomes following an
audition/interview for any of our programmes:
៉ An unconditional offer of a place
៉ An offer conditional upon exam results or further work to be
assessed
៉ An offer of a place on a different programme to the one that
you originally applied to. For example, if you applied for a
place on a degree programme here, we may offer you a
place on one of our Foundation Certificate programmes
៉ A notification that your application has been unsuccessful
Audition/interview venues
Auditions/interviews for UK/EU applicants are held
here in Liverpool. For applicants who live overseas,
you are welcome to attend an audition/interview
here, but we also hold a number of auditions and
interviews outside the UK. We will notify you about
your nearest audition/interview venue (sometimes
this might still be here in Liverpool). For those
applicants living outside the EU who cannot attend
an overseas or Liverpool audition/interview, we may
ask you to send a ‘postal’ audition/interview.
You will receive detailed guidance to help you
prepare this.
After the audition/interview
After the audition/interview for one of our degree
programmes, UCAS will contact you to inform you
about our decision. You can check the status of your
application at www.ucas.com.
After the audition for one of our certificate
programmes, we will contact you directly to inform
you about our decision.
Our decision will be final. Unfortunately, we cannot supply
feedback to unsuccessful candidates about applications or
auditions or interviews. In many cases, a lack of success is
due to the level of competition for places rather than any
specific weakness. Consequently, we are unable to advise
applicants on how to strengthen any future applications.
Disabled or deaf students or those with a learning
difficulty, such as dyslexia
If you would like to request a reasonable adjustment as part
of the audition/interview selection process, please contact
Howard Ashton, Admissions Manager, to discuss this.
1. Carnival
headdresses
developed for a
Brazilian
inspired music
and dance
production
Tel: + 44 (0)151 330 3084, email: [email protected] ,
Textphone: +44 (0)151 330 3055
*For the LIPA Foundation Certificate in Popular Music and Sound Technology, we
usually offer places based on the LIPA application form and demo you have sent us,
without asking to see you in person at an audition.
56
THE PATHWAY
1
Whatit
costs
Wherever you choose to
study, there are two main
costs involved: the cost of
your tuition and your living
costs.
Tuition fees for
undergraduates
UK and EU students
Like many other UK universities, we will
be charging a tuition fee of £9,000 a year
for UK/EU full-time undergraduates
starting degree programmes in 2013. The
fee may rise with inflation in subsequent
years. We know that this is a big
investment but it’s important to
remember that you do not have to pay
this money upfront when you enrol.
Most full-time students will be able to
take out a tuition fee loan for each year of
their programme. This loan is not meanstested which means that your household
income will not affect whether you get it
or not. You don’t have to start paying your
loan back until the April after you leave
LIPA and even then only if you are
working and earning more than £21,000 a
year. Your monthly repayment will be a
small percentage of your income so it will
be affordable.
Your tuition fee loan covers all your
tuition costs and will be paid directly to
us. This means you only have to budget
for your living costs. You may be able to
get help with your living costs too
through loans and grants, which you don’t
have to pay back.
Students outside the UK/EU
The international tuition fee is likely to be
£14,200.
We request a 25% deposit of the tuition
fee, which is likely to be payable at the
end of April 2013 or May 2013,
depending on the date of your offer. The
remaining tuition fee is payable at the
start of the teaching year. Depending on
your funding arrangements, an instalment
agreement may be available.
Tuition fees for
Foundation Certificates
For 2013 entry, the tuition fee for these programmes is likely to be
£8,950. We do not receive any funding from the government for
providing the Foundation Certificate programmes, so (regardless of
nationality) you have to pay these tuition fees and your living costs and
will be unable to get loans or grants from the UK government to cover
either of these. We request a 25% deposit of the tuition fee, which is
likely to be payable at the end of May 2013, depending on the date of
your offer. The remaining tuition fee is payable at the start of the
teaching year. Depending on your funding arrangements, an instalment
agreement may be available.
THE PATHWAY
Cost of living in Liverpool
Wherever you choose to study, you’ll
have to budget for accommodation
and other everyday living expenses,
such as food and bills. While the last
two items roughly cost the same no
matter where you study, the amount
you pay for accommodation will vary
significantly. The good news for our
prospective students is that Liverpool
accommodation costs are low in
comparison with other places in the
UK, particularly in comparison with
those in South Eastern England.
Other good news is that, as Liverpool
has a large student population, many
shops and entertainment facilities
here also offer student discounts.
6
2
1. Performing during an assessed gig
2. The T-shirt says it all: our students
are passionate about the performing
arts industry
3. Third-year students in a commercial
dance master class
4. Students performing in Bucuresti, a
new musical composed by one of our
students
5. A theatre and performance design
for a professional production at the
Unity Theatre, Liverpool
6. Our performance seasons provide
front of house work opportunities for
our students
For many, this will be your first
time living away from your
parental/guardian’s home so it’s
the first time that you will have to
pay for your accommodation, bills,
insurance, TV licence, food and
laundry, clothes, books and so on.
Added to that are the costs of your
travel and socialising. In terms of
overall living costs, we usually
recommend you budget for
spending around £6,500 per year,
although all of this is completely
personal. There is lots of advice
available online about budgeting,
including a very helpful budget
calculator on the UCAS website.
5
3
4
A STUDENT’S VIEWPOINT
“As a student in Liverpool, I’ve found
that you can really stretch out your
pounds. Pretty much everything is in
walking distance. All types of student
accommodation, including halls, are
affordable. In my second year, I moved
into shared private accommodation
which, in my case at least, drove down
the cost of living even further.”
Onai Bikishoni, 3rd Year BA
(Hons) Theatre and Performance
Design
Contact us
Tel: +44 (0)151 330 3000
Fax: +44 (0)151 330 3131 Textphone: +44 (0)151 330 3055
email: [email protected]
There are long summer breaks, so many of our
students supplement their income by working
during the holiday period. Because of the intensive
nature of our programmes and our busy seasons of
student public performances, options can be limited
for gaining part-time work during our teaching
periods. However, many do gain flexible part-time
work, sometimes in city performance venues but
also in high street retail outlets, restaurants, bars
and other employers of casual staff. We also provide
casual work opportunities for our students: these
range from working as stewards on our productions
to working with young people to help us to widen
access to our programmes.
57
58
THE PATHWAY
Howtofindus
To Motorway M58
& Wallasey Tunnel
LIME
ET
S
LN
WS
SHA
REN
Lime Street Station
NE
RA
Pier
Head
R
VE
NO
HA
ST
GH
LA
T
EE
TR
CITY CENTRE
Liver
Building
Metropolitan
Cathedral
Central
Station
ET
RE
ST
BO
LD
ST
RE
E
T
LEECE S
T
LA
T
MOUN
T
NE
UP
P
BERRY STREET
ST
ER
DU
KE
Anglican
Cathedral
To Motorway
M62
ET
T
R
UP P E
MYRT
LE ST
STR
EET
ST
RE
EE
STR
Open
Days
STREE
T
ES
AICA
To
Liverpool
John Lennon
Airport
AN ST
M
JAM
JA
RIVER
MERSEY
HARDM
HOPE
STREET
PA
RK
DU
KE
ST
RE
E
PILGRIM
ST
RODNEY
ST
ROSCOE ST
Albert
Dock
By rail
Liverpool Lime Street is the main railway station
in Liverpool. It is about 15 minutes’ walk from
us and offers good national rail and local rail
links. There are hourly trains to and from
London Euston (roughly two and a half hours’
journey time).
LONDON ROAD
REE
T
HN
Birkenhead
Tunnel
Entrance
To Motorway M62
ST
. JO
ST
L
DA
E
TR
ES
ON
ISLINGT
By air
Manchester Airport is about an hour away by rail,
coach or car. Liverpool John Lennon Airport,
though smaller, has regular scheduled flights to
the Republic of Ireland, the Isle of Man and
around 30 European cities.
NT S
IAME
PARL
T
TREE
By coach
Liverpool coach station is in Norton Street, about
25 minutes’ walk from us. It has regular services
to major towns and cities throughout the UK.
By road
The M62 motorway leads into Liverpool. You
should follow signs for the Cathedrals. We are
virtually opposite the Anglican Cathedral, which
is on Upper Duke Street.
Car parking
We cannot offer on-site car parking to visitors.
Pay and display parking is available on many
nearby streets including Pilgrim Street and
Rodney Street. This on-street parking is currently
free after 6pm. Blue Badge holders may park in
our lower car park, which is accessed via Pilgrim
Street. These spaces are available on a first
come, first served basis. Pilgrim Street is
one-way.
Our open days usually take place in June and September. There are normally
three events as follows:
៉ an open day about programmes that make performance possible;
៉ an open day about Acting, Community Drama, Dance and Music programmes;
៉ an open day about Music and Sound Technology programmes.
We publicise these events on our website once dates have been finalised.
Important information
The information contained in this prospectus is relevant to applications to undergraduate programmes for entry in 2013. The programme structure charts
are indicative and may be subject to change. We will use all reasonable endeavours to deliver programmes in accordance with the descriptions set out in
this prospectus. However, we are largely dependent on charitable and public funds, which we have to manage in a way that is efficient and cost effective.
We therefore reserve the right to make variations to the contents or methods of delivery of programmes, if we consider such action necessary in the
context of our wider purpose. If we discontinue a programme, we will use all reasonable endeavours to provide a suitable alternative programme, failing
which we will give four weeks’ notice prior to the start date for the programme and any fees paid will be refunded in full. We will reserve the right to
withdraw a subject or programme up to four weeks after the published start date. We also reserve the right to revise specific entry requirements, if
circumstances make this necessary, without notice.
Designed and produced by Clarity Creation, Liverpool. Photographs and illustrations: Kevin Armstrong, Harry Armytage,
Nick Ashcroft, Big Cheese, Yuval Bilgorai, Torstein Bjørklund, Grethe Børsum, Allan Brown, Justina Bubulyte, Simon Camper,
Pete Carr, Helen Carroll, Lauren Catherall, George Chatburn, Sean Ebsworth Barnes, Raymond Farley, Mark FeatherstoneWitty, Sam Heath, Deana Kay, Dan Kenyon, Tino Kratochvil, Rob Maclese, Steve Major, Christina McDermott, Mark McNulty,
Malcolm Menzies, Rebecca Miller, Anna Moody, Roger Morris, David Munn, Chris Nash, Alistair Nicholson, Arthur Phillips, Laura
Ramsay, Jason Roberts, Frank Rooney, Nicola Selby, Ashley Shairp, Alan Smith, Ian Southerin, Rich Spilman, Joe StathersTracey, Jodie Svagr, Amy Tomlinson, Michael Trasmundi, Robby Wilkinson.
Every effort has been made to contact the holders of copyright material, but if any have been inadvertently overlooked,
we would be pleased to make the necessary arrangements at the first opportunity.
THE PATHWAY
Supporters
PATRONS
Lead Patron: Sir Paul McCartney
Joan Armatrading, Sir Richard Branson, Dame Judi Dench, John Gunter,
Glyn Johns, Mark Knopfler, Gillian Lynne, Sir Cameron Mackintosh,
Sir George Martin, Robert North, Lady Olivier, Sir Alan Parker, Monica Parker,
Lord David Puttnam, Alpana Sengupta, Carly Simon, Peter Sissons,
Wayne Sleep, Vangelis, Toyah Wilcox, Victoria Wood
MASTER CLASSES
David Arnold, James Barton, Jennifer Batten, Paul Bentley, Ed Bicknell,
Lord John Birt, Scott Booker, Matthew Bourne, Barry Burnett, James Burton,
the late Ken Campbell, John Causebrook, Tracy Chapman, China Crisis,
The Christians, Thomas Clough, the late John Dankworth, John Dell, Zoltan
Dikam, Joe Duddell, Tommy Emmanuel, Brian Eno, José Feliciano, Rick
Fisher, Dawn French, Dean Friedman, Caroline Gardiner, Tish Garland, Mel
Gaynor, Paul Geary, Lee Gibson, Steve Gilbert, Dan Gillespie Sells,
Michael Grandage, Paul Groothuis, Terry Hands, Phil Harding,
John Harper, Nick Harper, Jonas Hellborg, Kit Holmes, Hootie and the
Blowfish, Eleanor Hudson, Christian Ingebrigtsen, Andy Instone,
Damian Jackson, Trevor Jackson, Julian Kelly, Bill Kerr, Paul Kilvington,
Mark King, Matt Kinley, Cleo Laine, David Laudat, Gerd Leonhard,
Martin Lowe, Gene Lubas, Barry Mason, David Massingham, Sir Ian
McKellen, Julia McKenzie, the late Malcolm McLaren, Ian McNabb,
Mel C, Ramesh Meyappan, Bob Mincer, Gerri Moriarty, Simon
Moran, Steve Morse, Jim Muirhead, Beth Nielsen Chapman,
Craig Ogden, John Patrick, John Preston, Simone Rebello, the
late Corin Redgrave, Phil Redmond, Lou Reed, Peter Reichardt,
Seth Riggs & Dave Stroud, Alan Rickman, Eryl Roberts & John
Ellis, Rumer, Mark Rylance, Prunella Scales, Louise Schultz,
Will Shillington, Max Stafford-Clark, Alison Stephens,
Janet Suzman, James Taylor, Sandi Thom, Dave Tolan,
Sally Anne Triplett, Cathy Tyson, Jürgen Wahl, Rick
Wakeman, Jerry Jeff Walker, Bruce Wall, Mark Ward,
Dionne Warwick, the late Anthony H Wilson, Richard
Wilson, the late Amy Winehouse, Jah Wobble,
John Woodward, Robert Worby, Peter Wylie
COMPANIONS
Pippa Ailion, Lea Anderson, Joan Armatrading,
The Bangles, Stephen Bayley, David Bell,
Lynda Bellingham, Natricia Bernard, Guy
Chambers, Paule Constable, Cathy Dennis,
Barbara Dickson, Anita Dobson, Ben Elton,
Caroline Elleray, Anthony Everitt, Anthony Field,
Tim Firth, John Fox, Benny Gallagher, Robin Gibb,
Nickolas Grace, Heather Knight, Ann Harrison,
Thelma Holt, Trevor Horn, Richard Hudson, John Hurt,
Chris Johnson, Ralph Koltai, Steve Levine,
Terry Marshall, Andy McCluskey, Alec McCowen, Joe
McGann, Alan McGee, Alan Moulder, Steve Nestar, Billy
Ocean, Christopher Oram, Dave Pammenter, Arlene Phillips,
Tony Platt, Jonathan Pryce, David Pugh, Sir Ken Robinson,
Willy Russell, Nitin Sawhney, Dr Jorg Sennheiser, LaVelle Smith Jr,
Terence Stamp, David Stark, Midge Ure, Hannah Waddingham,
Jon Webster, Tim Wheeler, Will Young
HONOURED FRIENDS
Luis Cobos, Spencer Leigh, Mark Summers
59
FOR PERFORMERS AND THOSE WHO
MAKE PERFORMANCE POSSIBLE
We’re happy to provide
literature and
communications in Braille,
large print or audiotape –
just ask for more details.
www.lipa.ac.uk
Mount Street, Liverpool, L1 9HF UK
Tel: +44 (0)151 330 3000
Fax:+44 (0)151 330 3131
Textphone: +44 (0)151 330 3055
email: [email protected]