Actor and Performer Training MA/MFA*

  • Actor and Performer Training MA/MFA*
    Rose Bruford College with Bral School of Acting
  • Actor and Performer Training MA/MFA*
show all

About this course

Duration

1 year (MA) or 2 years (MFA)

Term Start

October 2017

Entry Requirements

This Programme is for graduates or those with relevant professional experience.

The MA/MFA Actor/Performer Training is a practice-based programme for those seeking intensive advanced training as actors and performers alongside rigorous academic study and performance research. The programme focuses specifically on actor/performer training, theatre creation, performative writing, informed critical reflection and practice research. The uniqueness of the programme lies in the way it seeks to integrate traditional text-based conservatoire training and practices with the physical collaborative approach that has grown out of Eastern and Central Europe over the last 60 years.

The MA/MFA includes an expedition to Georgia, Russia which offers a unique context for learning and ethnographic and cultural research.

MA Actor/Performer Training

There are four modules in the MA:

Module One: The Advanced Actor
Module Two: Performative Writing
Module Three Expedition to Performance
Module Four: Independent Research Project/Practical Dissertation 
 

MFA Actor/Performer Training

Year One MFA
There are three modules in year one of the MFA. See details of these modules below:

Module One: The Advanced Actor
Module Two: Performative Writing
Module Three Expedition to Performance

Year Two MFA
There are three modules in year two:

Module Four : Professional
Module Five: Practical project
Module Six: Independent Research Project/Practical Dissertation


Why choose this course?

Intensive advanced training for actors and performers alongside rigorous academic study and performance research.

Includes an expedition which offers a unique context for learning and ethnographic and cultural research.


Fee and Application Information

Accreditation

This programme is currently under consideration for validation.

Mode of Study: 13 Months Full Time
Location: London venue

2017 Entry Fees

MA Option (1 year)

UK/EU Fees: £15,500
International Fees: £16,500

The fee includes travel and accommodation costs of the expedition to Georgia.

MFA Option (2 years)

UK/EU Fees: £21,500
International Fees: £22,500

The fee includes travel and accommodation costs of the expedition to Georgia.
 

How to Apply

You can apply for this course until it starts in October 2017 (subject to validation). Please click here to register your interest in applying.

International Interviews and Auditions
Throughout the year, we will be holding interviews and audition workshops in London and abroad. Please click here for our 2017 schedule and to register.


Course content

MA Actor Performer Training and Year one of MFA Actor/Performer Training

Module One: Training
The first period of work of this module is focused on a daily practice of psycho-physical ensemble based training, supported by discrete practitioner-led classes in corporeal and vocal exploration and technique. The emphasis here is on discovery of the natural, connected voice and the expansion of range, tone, colour and expression. The body is conditioned as source, vessel and instrument of all experience, sensation and expression. The training schedule seeks to give parity and balance between outer form and structure – be that physical, song, or the spoken word - and the animating inner life. Consciousness of the experience of doing- of experiencing live in the moment is essential, as is the power of releasing into and living within actual imaginative dynamic realities. Mono and polyphonic song is integrated as both training vehicle and as a language for theatrical expression and composition.

As the training work progresses, the study and integration of contemporary dramatic texts is woven into daily practice. These texts offer often complex, poetic, politically and artistically challenging material. The process of acculturation and the embodiment of character realities are facilitated through phenomenological approaches to decoding dramatic texts and reconstituting the word into action, experience and being.

The term’s work will culminate in the development of individual and collective etudes consisting of scenes drawn from contemporary dramatic texts. These presentations offer students the chance to integrate and experiment with key elements of their practice through the creation of dramatic mise-en-scéne.

Module Two: Performative Writing

The Performative Writing module interweaves and runs parallel to the other modules, introducing modes of writing, study and research, and praxis. You will work with a range of internationally-recognised practitioners and teachers whose role is to support and facilitate and at times direct your learning.  Key areas of study and research include somatics, theatre anthropology, phenomenology, performance ecology and the work of Grotowski, Thomas Richards, Kristin Linklater and Teatr Piesn Kozla. Performance writing/Research runs concurrently with and informs modules one and  three. It provides the theoretical and academic underpinning for the developing practice explored in these modules.

The module offers a particular lens through which to enhance, deepen and inform your understanding of your practice and theatre as an historical, and contemporary cultural and social phenomenon.  In particular you will explore different modes of research and reflection through; practice as research, the study of subject specific literature and performance, verbal discourse and developmental and critical modes of writing.

Active research is a fundamental principle engendering the evolution of one’s own practice and professional aesthetic. London offers not only a wealth of international theatre work, but also opportunities to work with and participate in workshops, events, performances, seminars and symposiums in related fields.  An important strand of the module is the Veda Mecum the development of your personal book of creative and critical output through the programme.  Seminars will be led by you as well as by professional writers, practitioners and specialists, supporting you, as you explore different modes and registers of writing and thinking – writing as doing; writing as free exploration; writing as performance, poetic writing, critical writing, writing for performance. In addition you will be engaged in practice as research and research as practice as you test and develop your own sense of yourself as performer/actor and theatre-maker.  You will be given the opportunity to present your written work publically either through mini performance or reading sessions.

The module is aligned with particular regard to redefining and challenging dominant Eurocentric models and assumptions regarding theatre practice, in particular ethical and social considerations, and discourse with other non-European cultural performance practices.
 

Module Three: Expedition to performance

Expedition is a unique opportunity to expand your field of understanding as an artist and theatre maker. Taking the knowledge and skills you have acquired and applying them out of the rehearsal room and the city - out into the world. Expedition bridges the gap between the training space and the real world. Expedition leads to cultures and communities where performance is still an intrinsic part of communal life, a binding that is crucial to the health, identity and the wellbeing of community. Often these traditions may be rooted through unbroken histories spanning hundreds of years.

Expedition confronts us with both the limitations of theatre and performance as defined by advanced western societal models, and the possibilities of performance as a mode for intercultural communication and interaction based on mutual respect and value.

The experience offers engagement with a different ecology of performance and enables us to reconfigure, and expand our own practice and understanding of the value, structures, and necessity of performance.

It is also the starting point and often the inspiration for the development of the Masters’ theatre project to be performed in London at the end of the semester. It is envisaged the experience of expedition may also influence and inspire elements of your own Independent Research Project. The expedition is the matrix from which a new theatre work will be created and developed by the ensemble, that will premier in London, with the possibility of further performances at Edinburgh Festival or on the international touring circuit.

The module creates the framework, conditions and impetus for students and collaborators to create an original ensemble theatre work. The initial research and the stimulus for this work comes with expedition- a journey into the artistic heart of a different culture where the artistry - song, story, dance, ceremony, ritual - are integral to the health, wellbeing and continuance of community. Core to the purpose of expedition is the encounter – the artistic meeting between artists and students –  the experience and understanding of the place of performance within complex traditional, social and hierarchal cultures. Previous expeditions have journeyed into the Tusheti Mountains in Georgia; Roma enclaves in Extremadura Spain; the MaramureČ™ and Bucovina regions of Northern Romania.

The programme’s momentum of training and creative encounter is maintained on expedition which now offers a widening field for artistic encounter and inspiration. Core to the experience is the opportunity to witness and engage with not only the position of art and the artist within their own communities, but crucially the experience of artistic expression within the artist - the living ecology of technique, belief, meaning, values, custom, and expression that animate culture.

These experiences will form the catalyst for the creation of artistic material which will be developed and synthesised on return to London and will form the basis of an extended devising project to create an original ensemble theatre work to be premiered at Rose Bruford’s Venue at Summerhall at the Edinburgh Festival..

 

Module Four: Independent Research Project (MA only)

There are two parts for completion of this Independent Research Project module.

Part A
You will propose a practical research project related to your particular field of performance interest. The focus of this research project may be culturally specific practices, the development of new modes of training and exposition of practice in specific environments, new constellations and languages of training or performance creation, the manifestation of developing or innovative practices in relation to original or existing material and contexts etc. The project will take the form of either a practical- or performance-based event.

Part B
The written paper will articulate and discuss important elements, processes and discoveries relating to the realisation of the project. It should analyse the particular subject you have chosen to focus on and seek to contextualize, evaluate, articulate key elements of the research and process and offer a detailed account of the ways in which your own practice has developed as a result of the practical investigation and research. The aim is to create a piece of writing that reflects new knowledge and insight generated by the research project.

 

MFA Actor/Performer Training

Year two

This is a two year programme. MFA Actor/Performer Training students will work alongside MA students for the first year of the programme. Both groups will work together for terms one to three of this programme. MFA students then continue into a second year, enabling the development of placements, further projects, independent research projects and professional placements both internally and outside the School.

Placements are a fundamental part of the second year of the MFA course and will enable students to deepen experience and hone skills as a practitioner. Students are expected to undertake one or two work placement/ attachments, as well as practice, tutorials and seminars throughout the year as part of an ongoing process of practical reflection and engagement leading to the submission of the final Independent Research Project. Placements could be in the area of performance, direction, theatre for young audiences, collaboration, movement, voice, producing, teaching or any related area of professional practice

Module Four: Professional Attachment

This module will continue to focus on the development of the student’s specialist discipline and will represent a further development of that body of work. Subject to negotiation, study is based around a focussed placement, internship or professional attachment. The basis of the attachment may be artistic, training, entrepreneurial or administrative. This could be in the UK or International.

The module offers the opportunity to develop an area of specialist practice within a professional context in order to further develop your application, understanding, and critical reflection on practice. Students will gain professional experience and exposure within their chosen fields whilst being exposed to high quality professional artistic practice and building a network of professional contacts and networks.

Module Five: Practical Project

This module is focused on theatrical performance made in relation to a particular community—it can include theatre made by, with, and for a specific community.

The module offers the opportunity to develop a performance within a community context in order to further develop your application, understanding, and critical reflection on practice. Students will gain professional experience and exposure within their chosen fields whilst being exposed to high quality professional artistic practice and building a network of professional contacts and networks.

Module Six: Independent Research Project (MFA year two)

There are two parts for completion of this Independent Research Project module.

Part A

You will propose a practical research project related to your particular field of performance interest. The focus of this research project may be culturally specific practices, the development of new modes of training and exposition of practice in specific environments, new constellations and languages of training or performance creation, the manifestation of developing or innovative practices in relation to original or existing material and contexts etc. The project will take the form of either a practical- or performance-based event.

Part B

The written paper will articulate and discuss important elements, processes and discoveries relating to the realisation of the project. It should analyse the particular subject you have chosen to focus on and seek to contextualize, evaluate, articulate key elements of the research and process and offer a detailed account of the ways in which your own practice has developed as a result of the practical investigation and research. The aim is to create a piece of writing that reflects new knowledge and insight generated by the research project.