Rose Bruford College

of Theatre & Performance

By Distance Learning

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

Welcome The College The Theatre Studies Programme The Virtual Learning Environment Portfolio of Modules Level 1 Level 2 Level 3

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Course Information
Fees Teaching Permanent Academic Staff Module Tutors Administrative Staff Contacts From our Students Next Steps

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Dear Enquirer, May I take this opportunity to introduce you to Rose Bruford College and in particular to the Theatre Studies programme. I hope that the information contained in this e-brochure will answer any questions that you may have and encourage you to apply for the Theatre Studies degree. Rose Bruford College is a college of Higher Education within the British University Sector. It has an unequalled reputation in providing a wide range of undergraduate and postgraduate programmes in theatre and related arts. The Distance Learning courses allow us to offer some of the best examples of our highest quality work to people wherever they live. The BA (Hons) in Theatre Studies is the only full degree programme in the UK for those who wish to study theatre and performance by Distance Learning. Furthermore, there is no comparable programme by Distance Learning elsewhere in the world. Our degrees are currently validated by the University of Manchester. The degree is intended for anyone who wishes to develop a thorough knowledge of theatre from its beginnings to contemporary performance. In delivering this programme we aim to be flexible by offering a range of areas for study around a central core of key topics. The programme is also designed in such a way that students can choose how much they undertake each year; and vary the rate at which they progress through the degree. I hope that you will enjoy reading this booklet and that next year we will welcome you on to the programme. Jayne Richards Programme Director: Theatre Studies Rose Bruford College

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

The programme offers students a unique opportunity to study theatre whilst balancing work and family commitments. Students work at their own pace and from their own homes wherever in the world that might happen to be. We aim to give our students a thorough knowledge of diverse aspects of performance ranging from the social, historical and aesthetic contexts in which performance flourishes to the practitioners, directors and actors who create it and the theatres, sites and spaces in which it is made. The programme is divided into three levels. Each level is equivalent to one year of a full-time degree although Distance Learning students may decide to spread their work over a longer period of time. You may study purely for your own interest and pleasure but on the completion of each level you will accumulate enough credits to earn a qualification: Completion of Level 1 (120 credits) will qualify you for a Higher Education Certificate in Theatre Studies Completion of Levels 1 and 2 (240 credits) will qualify you for a Higher Education Diploma in Theatre Studies Completion of Level 1 and 2 plus 60 credits at Level 3 (300 credits) will qualify you for a BA degree in Theatre Studies Completion of Levels 1 and 2 plus 120 credits at Level 3 (360) credits will qualify you for a BA Honours degree in Theatre Studies Within each level, the programme of study is divided into modules, each focusing on a specific topic. Some modules are obligatory, as they are essential to the study of theatre, but there is also a wide choice of elective modules to enable you to pursue your particular areas of interest as you progress. Each module comprises a series of units, a Module Reader containing materials referenced throughout the module and all the other information you will need to get started. Each unit is designed to provide enough material for you to study in a month. A unit might include notes, exercises, documents and illustrations all of which are designed to give you the same information as if you were face-to-face with your tutor.

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

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

Level 2 : 120 Credits Obligatory Shakespeare Naturalism

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

Level 3: 120 Credits Obligatory Topics in Contemporary Theatre

Elective Brecht & the Epic Tradition in German Theatre Beyond the Stage Post-Colonial and Black Theatre Elizabethan, Jacobean and Caroline Theatre Ancient Greek Tragedy: History and Reception Independent Research Project Shakespeare in Performance Theatre of the Absurd Theatre Criticism The Directors Story

T.1.1 Theatres at Work

This module identifies and explores the techniques and challenges of presenting theatre today. It includes an in-depth study of how a professional theatre company functions in terms of its artistic policies, marketing strategies and funding initiatives. Much of the students work will be based on the study of a professional theatre company through special arrangements negotiated by the College. T.1.2 Reading a Play This module explores ways of analysing dramatic writing in terms of its potential impact and meaning in the theatre. Students examine dramaturgy from the perspective of a director and focus on ways in which a text becomes a blueprint for performance. Plays currently studied include: Macbeth, Copenhagen, A Dolls House, and Accidental Death of an Anarchist. The module simultaneously explores key principles and theories about dramaturgy while encouraging students to recognise how it is repositioned by performance contexts. T.1.4 Ways of Talking About Theatre: The Critical Audience This module examines the relationship between meaning and text by examining a range of approaches to performance. It investigates how conventions of genre, acting styles, direction and design signify in different ways. By taking the role of the critical audience students explore how contemporary productions are shaped by their historical, cultural and artistic conditions and discover ways of re-framing them within contemporary critical perspectives. Students watch recordings of a range of plays, operas and devised material and are guided through ways of analysing action and production choices and articulating their experiences. T.1.5 Elements of the Performance This module introduces key traditions or elements of theatre-making. Students explore the means by which the performing body is codified through visual elements such as costume, make-up and mask. They examine the relationship between text, space and action, the changing social and political functions of performance and the role of context in meaning-making. This module introduces students to the evolution of various theatrical forms and traces the fusion of styles and conventions.

Obligatory Modules T.2.1.1 Naturalism (obligatory) This module interrogates Naturalism in its historical context. The module looks at the impact of science and technology and the new perspectives of sociology and psychology. The works of important writers including Zola, Ibsen, Strindberg and Chekhov are studied alongside practitioners such as Stanislavski and Antoine. Particular attention is given to the comparative analysis of play-texts and the ways in which, within Naturalism, they embody different aesthetic preoccupations and generate different experiences in the theatre.

T.2.1.2 Shakespeare (obligatory)

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

T.2.2.1 The Director (elective) This module traces the ascendancy of the director in European theatre. It examines the work of major practitioners in the twentieth and twenty-first centuries in terms of their treatment of classical and contemporary plays, their theoretical writing and their historical and cultural context. In looking at major figures and their contribution to theatre practice, the module considers the developing role of the director in contemporary theatre and the ways in which the contribution of the director to the theatre event might be critically identified and examined. T.2.2.2 The Designer (elective) This module examines the role of designers in theatre and opera from the Italian Renaissance to today. The module examines the approaches of particular designers to script, theatre space, actors and audience. The module identifies some of the working processes of professional theatre designers enabling students to document, analyse and interpret the design choices in a contemporary production. The module is divided into historical appraisal, exploration of the work of individual practitioners and investigation of theories of design. T.2.2.3 The Actor and the Realist Tradition (elective) This module provides an historical overview of the changing social role and economic status of the actor. It introduces students to the dominant approach to acting of the last hundred years, which is that of Stanislavski, and guides them through the process of the actors own preparatory work for rehearsal through a series of exercises and tasks. This gives students the personal basis for an introductory reading of Stanislavski and the contrasting theoretical perspectives of two other key figures: Michael Chekhov and Bertolt Brecht.

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T.2.1.4 Post-War British and Irish Playwriting (elective) is module provides an in-depth study of British and Irish playwriting over the past sixty years. A wide selection of plays is examined and compared, including key twentieth century works by Churchill, Osborne, Behan and Wesker. The module focuses on the work of the dramatist and introduces systematic ways of reading and analysing modern playwriting. T.2.1.5 American Theatre and Drama (elective) This module provides an overview of post-war American Theatre and examines some pre-war movements and writers in detail. Amongst the dramatists studied are Williams, Miller, Shepard, Mamet, Wilson and Wasserstein. Placing American Drama within its wider social, political, theatrical and theoretical frameworks, the module investigates the ways in which cultural difference, nationhood, the American Dream, frontier myths and sexual politics are engaged and negotiated in American playwriting. T.2.3.1. Musical Theatre: The American Golden Age (elective) 30 credits This module investigates the world of musical theatre from a twentieth-century American perspective (focusing on productions spanning from 1920s-1970s). Students will explore the theatrical forms that influenced the musical as it is widely known. For example, Minstrelsy, Vaudeville, Burlesque, Revue, Comic Opera and Operetta. Each unit will focus on those writers and composers and the productions that contributed to the development of American Musical Theatre: Jerome Kern, Showboat; Rodgers and Hammerstein, Oklahoma! and Carousel; Lerner and Loewe My Fair Lady, Jule Styne and Arthur Larents, Gypsy, Stephen Sondheim, A Funny Thing Happened on the Way to the Forum, and A Little Night Music, respectively.

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T.3.8 Topics in Contemporary Theatre (obligatory) This module addresses a range of contemporary material, including various moments and movements, playwrights and other practitioners. Students are encouraged to carry out more intensive study on particular topics of interest. Specific aspects of recent and contemporary theatre practice are introduced, including feminist and gay theatre aesthetics, black theatre, political theatre of the 1970s and 1980s, physical performance and new playwriting. T.3.2 Elizabethan, Jacobean and Caroline Theatre (elective) This module focuses on the thriving age that gave rise to the theatre of Shakespeare and introduces the study of other key dramatists such as Kyd, Marlowe, Chapman, Heywood, Dekker, Jonson, Marston, Webster, Tourneur, Middleton, Ford, Massinger, Beaumont and Fletcher. The module looks at the composition of audiences, the organisation of the theatre, and its dependence on patronage; and the physical structure of the playhouse.

T.3.6 Beyond the Stage: At the Frontiers of Theatre (elective)

This module investigates attempts to rediscover theatre outside of theatre buildings and provides an opportunity to study and analyse the interaction of theatre and community. Indicative examples are: Total theatre, Brechts Lehrstcke, Boals Theatre of the Oppressed, Odin Teatrets barters, performance art, street theatre and experiments with ritual and celebration. T.3.9 Brecht and the Epic Tradition in German Theatre (elective) This module provides an introduction to one of the most influential dramatists and theorists of the twentieth century. It also studies German traditions from the eighteenth to twentieth centuries. Particular attention will be paid to the staging and music of Brechts plays including The Threepenny Opera, The Exception and The Rule, The Mother and Mother Courage.

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T.3.1. Research Project (obligatory for Honours Degree only) In this module, students undertake a 10,000 word research project on a subject identified and defined through discussion with the Programme Director. The choice of research topic might derive from earlier work on the programme or in certain circumstances it might take the form of an extended essay based on a practical project. The independent research project is supported by tutorial supervision and replaces the traditional units. T.3.3. Post-Colonial and Black Theatres (elective) This module places a particular emphasis on performance and theatricality in postcolonial contexts. It adopts an intercultural perspective on performance and emphasises the significance of historical (social, political and economic) contexts in the creation of meaning through performance. Rather than presenting a general history of post-colonial theatre or an exhaustive analysis of all black theatre forms, the module selects specific aspects of the subject to demonstrate the relationship between text, performer, and space. T.3.4. Ancient Greek Tragedy: History and Reception (elective) This module explores Greek plays in their ancient socio-political and performance contexts and in the contexts of their transformations in subsequent theatre spaces, manifestations and cultures. Students will analyse tragedies by Aeschylus (Oresteia), Sophocles (Philoctetes) and Euripides (Medea), as well as considering the nature and purpose of the satyr play (Euripides Cyclops). Versions of these dramas by contemporary playwrights and film-makers (including Yael Farber, Neil LaBute, Seamus Heaney, Liz Lochhead and Tony Harrison) will also be examined in order to introduce and interrogate the theory and practice of classical performance reception. Each unit within the module offers a specific and distinct perspective upon the evolving field of classical performance reception. Issues of politics, gender and postcolonialism, as well as theatre history, historiography and appropriate practitioner theories, will all be considered within this context.

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T.3.1.2 Theatre of the Absurd (elective) This module focuses on a number of plays written in English and French (the latter studied in translation) in the 1950s and 1960s which have been characterised by the term Theatre of the Absurd. Beckett, Ionesco and Pinter receive the closest attention but related dramatists such as Genet, Adamov, Albee, Simpson and Stoppard are also considered. The work of all these dramatists is contextualised in terms of the cultural and historical conditions in which it was made. T.3.1.1 Shakespeare in Performance (elective) This module, taking Shakespeare as its subject, encourages students to think practically about how a play text on the page becomes a script for performance. It asks what effect the directors shaping of the text through cutting or re-ordering has on interpretation; and how trends in the stage history of the plays reflect the preoccupations of the society in which they are performed. As well as looking at the performance history of four plays, students are asked to undertake a practical exercise in preparing part of a text as if for performance. T.3.1.3 The Directors Story (elective) This module will investigate the work of four contemporary theatre directors exploring the different ways in which they make stories for the theatre. Students will examine specific productions directed by Peter Brook, Simon McBurney, Roxanna Silbert and Dominic Dromgoole. Each unit will focus on different approaches to theatre making so that the student can develop a heightened understanding of each directors approach. This module will enable students to develop and enrich their understanding of the directors craft, examine new directions in making theatre for our contemporary contexts. This module requires students to engage in practical research into the work of a local director and to develop their own unique collection of primary sources. It is an exciting hands-on approach to study which allows individuals to investigate theatre practice and practitioners first hand.

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T.3.1.4 Theatre Criticism (elective) This module is a practical and theoretical introduction to theatre criticism. It discusses the role of the theatre critic in contemporary society and assesses the impact of theatre criticism on performance practices. The unit also explores the techniques and approaches to analysing live performance from the particular perspectives and agendas of the arts critic. Each unit focuses on different aspects of reviewing, which will enable students to develop practical skills in performance-critical writing and foster their own reviewing style. The module analyses genuine examples of theatre reviews from different sources, such as broadsheet newspapers, listing magazines and literary supplements. Along with these sources, students will examine interviews with contemporary critics, plus a select bibliography.

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Entry requirements.

The Distance Learning degree is open access and has no formal entry requirements. For this reason, many students who do not possess standard University entry qualifications apply for this degree. However, places are limited and every application is considered on its individual merits. Applicants will be asked to submit a short account of a theatre production they have seen recently and attend an interview which will take place by telephone. If you are subsequently offered a place for the next academic year the Programme Director will contact you for an informal discussion about your aspirations and expectations and your choice of modules for the first year. Extra advice and guidance on study skills is available to all students whether they arrive directly from another educational institution or have not studied for many years.
Study time. Although the programme is designed to be flexible we suggest that on average you will need to allow eight hours per week per module, and that a module should take nine months to complete. You may study more than one module at a time. All modules run simultaneously from September to May. How we teach. After you enrol, you will be assigned to a personal tutor who will guide and assist you throughout the course of your studies. In addition, for each module that you study, you will be allocated a module tutor who will focus solely on supporting you through the work contained in that module. Throughout your period of study, your tutors are on hand to answer your academic queries, advise you on planning your work and to provide feedback on your assignments. Your tutors will contact you by email and phone at various points throughout the year and will always be there to help if you need them. The Programme Director and Programme Administrator, supported by the Distance Learning team, are also available to provide advice and guidance. The College also organises various study events, both on the campus and at other locations around the country, where you can receive face-to-face tuition and meet your fellow students.

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Current module fees are included as an attachment. These fees cover both study materials and tutorial support. Students are advised to take only as many modules as they can successfully complete in one year. By accepting a place on the programme you are committing to paying your fees for the academic year even if you subsequently decide to defer or withdraw.

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Teaching materials. The Induction Module and Programme Document, which you will receive after you enrol, provide a useful guide to the Theatre Studies programme, module choices, tutorial staff, administration, library access and study events. Included with the Induction Module are the bibliographies for all Level 1 modules. These will allow you to familiarise yourself with the course materials and begin to source the books you will need. In August each year you will be able to download your Module Materials via our VLE. We are currently developing this facility which will allow increasing degrees of interactivity between students and College regardless of where you are in the world. Library access. The College's Learning Resources Centre (LRC) offers a range of services to Distance Learning students. The LRC is open to all Distance Learning students who live within travelling distance, for personal use and for borrowing. Photocopies of chapters from books or articles may be requested by email or over the phone. The LRC also provides information about useful web resources and students can access information by logging on to the college website. Of particular importance is the College's membership of the SCONUL Access scheme. This reciprocal arrangement between colleges and universities in the UK allows our students access and borrowing rights at the library of their nearest participating Higher Education Institution. You will be expected to read widely during your studies and access to books and other resources will be very important. E-Resources The College is developing its range of e-learning resources and the Theatre Studies has a dedicated Forum where students can log in to chat or exchange ideas. Students are expected to have regular access to email and the world-wide web. We have our own Facebook page for students who enjoy social networking.

To visit our Theatre Studies Facebook page: http://www.facebook.com/profile.php?id=618409224#!/pages/Sidcup-UnitedKingdom/Theatre-Studies-Distance-Learning-at-Rose-BrufordCollege/389814455832?ref=ts

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

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Programme Director

Jayne Richards

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

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

David is the College's Manager responsible for launching the site in Summer 2010 and continues to train and support its users. He teaches on the ETA, ATA and PGCLTHE programmes and is part of the team currently developing a suite of Open Educational Resources. David has taught at Central School of Speech and Drama and Royal Holloway and was awarded a post-graduate teaching certificate in 2004. He is a fellow of the Higher Education Academy.

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Dr Walter Anderson
Walter is the educational head of The Conservatory, Baltimore Actors' Theatre, which has a college preparatory division and a college division where students have successfully worked towards their Trinity/Guildhall graded qualifications and diploma qualifications. College level students are also enrolled in the Rose Bruford College distance learning theatre studies BA. Walter holds a bachelors degree in music, a Master of Drama Studies and a Master of Liberal Arts from the Johns Hopkins University, Baltimore; a Licentiate in Applied Drama and a Fellowship in Education Studies Musical Theatre from Trinity College, London. Walter has served as musical director for the Baltimore Actors' Theatre since 1970. In that capacity he has been show accompanist and conductor; and he has composed numerous musical scores for the company's childrens theatre which has won several awards for its artistic achievements. He has also composed the score for an original adaptation of The Phantom of the Opera which BAT toured Great Britain through the Apollo Leisure Group to its flagship theatre in Oxford, The Hippodrome in Bristol, and the Edinburgh Festival in 1990. This show also toured to Australia in 1991. Matthieu Bellon Matthieu Bellon-Leloup is an actor, director and workshop leader. He is Module Coordinator on the BA (Hons) Directing Programme at Rose Bruford College and has taught acting and directing on various other programme at the College and in other London schools, as well as in Spain, Switzerland and Poland. After completing a BA in History and Political Science at Sorbonne and Institut dEtudes Politiques de Paris, Matthieu was awarded a Diploma in Fine Arts at the Florence Academia in Italy before joining Peter Brooks actor Zaddredhin Zahed for his first training in acting in Paris. In addition to working extensively as a professional actor in France, Spain, Poland and the UK, he also trained in Classical British Theatre at CDS Cygnet (patron Peter Brook), Lecoq International School of Theatre in Paris and movement with Master Prapto in Solo, Indonesia. Matthieu joined the award winning Polish avant-garde company Song of the Goat in 1992, devising and touring their productions and started his own company Bred In The Bone Theatre in 2008, producing work as a director and actor.

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David Chadderton

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

Sally Pomme Clayton Sally Pomme Clayton is a writer and performance storyteller. She founded The Company of Storytellers with Ben Haggarty and Hugh Lupton spearheading the revival of storytelling in the UK. She tours internationally and recent performances have been in Greece and Spain, at the British Museum; the Barbican, and Edinburgh Book Festival. She performs with Middle Eastern band Joglaresa, and is currently working with The London Philharmonic. She has worked with Welsh National Opera, London Sinfonietta, and SouthBank Gamelan Players. During 2005 - 06 she was consultant for the British Library Inside Story project. In 2004 she wrote and performed Rama and Sita - Path of Flames with a band of Indian musicians for the Unicorn Children's Theatre. Her latest book is: Persephone. A journey from winter to spring (Frances Lincoln 2009). She also writes for radio and theatre. Most recently she wrote and presented The Whole Brain - tales told in Central Asia, for BBC Radio 3, 2006. She lectured on World oral traditions and creative writing at Middlesex University from 1993 - 2007.

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

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Dr Rachel Clements

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

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

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Colin Ellwood

Colin Ellwood is Programme Director of the Theatre Directing B.A. (Hons) at Rose Bruford College where he also teaches on the Acting, Theatre Design, Lighting Design and European Theatre Arts programmes. After studying English Literature at Glasgow University, Colin became Artistic Director of Opening Acts, a Scottish Arts Council funded theatre-in-education company touring throughout Scotland. This was followed by four years as an Assistant Director at the RSC, working with, for example, Adrian Noble, David Thacker, Michael Bogdanov, Sam Mendes, John Caird, Kenneth Branagh and Steven Pimlott. As Director of the RSC Festival, Colin directed Becketts Waiting for Godot with Linda Bassett, Finbar Lynch, Denys Hawthorn and Jonathan Cullen. Other RSC productions include Hamlet for a TIE tour and the premiere in the Barbican Pit of Peter Whelans stage version of Disraelis novel Sybil. As Artistic Director of Strangers Gallery he directed the UK premiere of Lope De Vegas Jewess of Toledo at the Bridewell and the world premiere of the newly discovered original version of Rattigans Separate Tables at the Kings Head with Barbara Jefford, Lucy Whybrow, Mark Eden and Diane Hardcastle. Freelance work has ranged from new plays at the Traverse Edinburgh to a devised piece using the writings of the Fourteenth Century mystic Julian of Norwich with The Dufay Collective in Norwich Cathedral. He has also taught and directed at most of the major UK drama schools, including Guildhall, Webber Douglas, Central and ALRA, and has given a range of workshops and talks at universities (Oxford, Tours, Newcastle, Reading, Warwick etc) and at the London Theatre Museum and Actors Centre. Research interests include work on the primary creativity of the performer and related projects have included an ongoing exploration of dreams/primary consciousness/pre-gendered impulses in performance of which several accounts have been published.

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Dr. Stephe Harrop Stephe Harrop completed her practice-based PhD, exploring the physical performance of Greek choruses, in 2007 (Royal Holloway, University of London). The performance reception of ancient tragedy is one of her major research interests, with recent publications including Poetic Language and Corporeality in Translations of Greek Tragedy (co-authored with David Wiles, 2008), and Theorising Performance: Greek Drama, Cultural History and Critical Practice (co-edited with Edith Hall, Duckworth, 2010). She is also a post-doctoral associate of the Archive of Performances of Greek and Roman Drama (University of Oxford). As well as her tutoring at Rose Bruford College, Stephe teaches Greek drama and theatre history at Goldsmiths College (University of London) and Millikin University (Decatur, Illinois). Her other main research interest is contemporary performance storytelling, and since 2008 (following an apprenticeship with Vayu Naidu Company) she has worked as a professional storyteller, a practice which increasingly informs her scholarly research agenda.

Polly Irvin
Polly trained at the Central School of Speech and Drama. She worked extensively as an actress for seven years before turning to directing. In 1992 she formed the multi racial theatre company Wild Iris and directed her debut production of A Dolls House at the DOC in Kentish Town. The show was subsequently invited to represent Britain at the 1993 International Ibsen Festival at The Nationaltheatret in Oslo and returned to London for a second sell out run and nominated for several awards. Pollys second production was Love At A Loss by female wit Catharine Trotter at BAC; this won her a Time Out Award. Subsequent productions with Wild Iris were The Baby by Chris Hannan at The Bush, Death Catches the Hunter by Biyi Bandele BAC/National Tour, A Farmers Bride by Ged McKenna at the Stephen Joseph in Scarborough and The Basset Table by Susannah Centlivre Bristol Old Vic and The Tricycle. As a free lance director Polly has directed As You Like It at Bristol Old Vic which Jude Kelly transferred to the West Yorkshire Playhouse, and Hansel and Gretel in the main house, Lyric Hammersmith. From 2003- 2007, Polly was the Programme Director for BA (Hons) in Directing at Rose Bruford College and published her first book Directing For The Stage (Rotovision) in 2001. Polly has just completed an MA in Integrative Arts Psychotherapy at the Institute for Arts in Therapy and Education and has a private Psychotherapy practice with adults and children in Brighton, East Sussex.

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Julian Jones

Julian trained at RADA from 1984-1986 and has worked as an actor in Theatre, Television and Film for the past twenty-five years. Acting credits include Slim in Of Mice and Men (Birmingham Rep; The Savoy and The Old Vic), Dan in Closer (Manchester Library Theatre), Caliban in The Tempest (The RNT) Dray In The Trestle at Pope Lick Creek (Manchester Royal Exchange), Jimmy Porter in Look Back In Anger (Lancaster Dukes Theatre), Valmont in Les Liasons Dangereuses (Cheltenham Everyman Theatre) and Chris Keller in All My Sons (Chester Gateway Theatre). He is a Senior Lecturer in Acting at Rose Bruford College where he both teaches and directs. His work with first year actors is focussed on the teachings of Stanislavski and Meisner. With second year actors he works on Elizabethan and Jacobean drama. He also teaches Dramaturgy and is Contextual Study co-ordinator across all three years of the Acting and Actor Musician Programmes at Rose Bruford. For several years he taught Acting for Camera at Webber Douglas Drama School and, along with a colleague from Rose Bruford, delivers an annual workshop on Brecht for the MA Directing course at Birkbeck College. Julian is Artistic Director of his own theatre company: Burning Oak. Plays he has directed include Shakespeares Julius Caesar, Macbeth and The Winters Tale; Chekhovs The Seagull and Three Sisters; and Simon Stephens Punk Rock and Herons. He is currently working with The Royal Shakespeare Company delivering acting workshops as part of their Open Stages initiative. He is also in the process of devising exercises through a series of workshops on Brecht for Stephen Unwin Artistic Director of The Rose Theatre in Kingston and author of A Guide To The Plays Of Bertolt Brecht. His particular interest in Greek Theatre has led to a BA in History and Archaeology, a Masters in Classical Studies and a diploma from the Epidauros Summer School run by the University of Athens. He is about to take a new play Body of Water to the Pleasance Theatre in Edinburgh for the festival with Made From Scratch Theatre Company. Julian is a Fellow of The Higher Education Academy.

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Dr. Arya Madhaven Arya completed her PhD from the Department of Theatre, Film and Television Studies, University of Aberystwyth in 2008 and her thesis focused on enquiring the actors consciousness and how actor training systematically facilitates the transformation of his consciousness into higher levels in performance. Kudiyattam, which is the oldest existing theatre form from India, was taken as a model in this enquiry. In her thesis she particularly analysed the performance principles of Kudiyattam and its implications on the actors consciousness, how particularly the actor training techniques of a performance influences the creation of a higher level of consciousness in both performers and audience. These are the major research areas that Arya will be focusing on in future: a. Kudiyattam theatre with a particular focus on Pakarnnattam (multiple transformational acting), space and time in Kudiyattam, performance principles, actortraining, text and the actor and gender and the performer, b. Indian theories of aesthetics, philosophy and praxis, c. Actor-training both Eastern and Western, d. Performance studies/theory, e. Actor and the voice, f. Indian dance theory and practice, g. Intercultural theatre. Arya is currently working as a Lecturer in Drama at the University of Lincoln. Rebecca Pollock Rebecca Pollock graduated from the BA (Hons) American Theatre Arts programme at Rose Bruford College and gained her MA in English and American Literature from Kent University. In 2004, she co - founded Shady Dolls Theatre Company who have produced a great variety of shows in London, Edinburgh and most recently at the Cuenca Theatre Festival in Spain. Alongside her work with the company, Rebecca teaches on the American Theatre Arts Degree and the Part Time Theatre Arts Course at Rose Bruford and is module co-ordinator on the Drama and Theatre Studies Degree at Bath Spa University.

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Sophie Powell
Sophie completed a BA (Hons) in Drama and French at Bristol. She trained in physical theatre and clown with Philippe Gaulier and in puppetry at The Little Angel Puppet Theatre. Her work combines professional experience as a performer with teaching for a variety of institutions including Central School of Speech and Drama and Rose Bruford. Her teaching work aims to combine practical and theoretical approaches. As a performer, her personal practice has focused on devised physical performance, mask, clown and puppetry. Performance credits include Long Nose Puppets (The Hawth Crawley and Tate Britain) The Stephen Whinnery Company (I.C.A, Purcell Rooms, Northern Stage, Chisendale Dance Space, B.A.C, Nightingale Theatre), Face Pack Theatre (regional tour), Proteus Theatre Company (regional tour) Polka Theatre, Improbable theatre; and David Furnham Productions.

Professor Aleks Sierz (Visiting Lecturer) Aleks Sierz is Visiting Research Fellow at Rose Bruford College, and author of the bestselling account of 1990s new writing, In-Yer-Face Theatre: British Drama Today (Faber, 2001), as well as of The Theatre of Martin Crimp (Methuen Drama, 2006) and John Osbornes Look Back in Anger (Continuum, 2008). He is an authority on contemporary British theatre, and co-editor of the Continuum Modern Theatre Guides and of the theatreVOICE website. He works as a journalist, broadcaster, lecturer and theatre critic at large.

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

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Mary Lynch

Programme Administrator: Theatre Studies RBC Programme Administration Manager

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

Lisa Knightsbridge

Programme Administrator: Materials and Copyright

Lisa is Programme Administration responsible for the management, updating and delivery of course materials. She holds a BSc (Hons) in Biological Studies which, like many of our Distance Learning students, she studied for part-time. Over a number of years, Lisa has worked for a variety of organisations including corporate, charitable and higher education institutions. Her first introduction to Distance Learning was as a designer of computer-based training for a major UK bank. These courses were delivered via PCs in branches and offices throughout the UK. Lisa enjoys theatre and opera and is an amateur genealogist and understands the joy of keeping the mind stimulated and gaining a deeper knowledge of a subject that interests you.

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Administrations Manager/ Programme Administrator Mary Lynch College Librarian Registrar Finance Student Adviser Frank Trew Sue Widdows Olivia Wong Joanne Davies Tel. 0208 308 2660 mary.lynch@bruford.ac.uk Tel 0208 308 2635 frank.trew@bruford.ac.uk Tel 0208 308 2612 sue.widdows@bruford.ac.uk Tel 0208 308 2603 olivia.wong@bruford.ac.uk Tel. 0208 308 2638 joanne.davies@bruford.ac.uk

Disability Adviser
Learning Support

Ros Platton
Simon Hopper

Tel 0208 308 2610

ros.platton@bruford.ac.uk simon.hopper@bruford.ac.uk

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Cal Campbell I am passionate about theatre, whether it is acting, directing, watching or just being in a theatre space. I had (and still have) dreams that taking a theatre course would allow me to make theatre an even bigger part of my life. I had been looking for a long time to find a distance learning course that would allow me to continue my day job and study at the same time... but with no success. A like-minded friend spotted Rose Brufords Theatre Studies course and having researched the details we both applied. Even though I thought I had researched the course I have found that it is better than it ever looked on paper. The modules and the units are interesting and challenging, well laid out and easy to follow. They are backed up by a friendly and supportive team of tutors to help you through any tough moments. The tutors are quick to respond and their goal seems to be to get the best out of you and, importantly, in a friendly manner. Regular contact through e-mails and even phone calls make you feel looked after. The attitude is certainly positive, helpful and encouraging. This is a real degree course and the assignments are, like the rest of the course, challenging but well directed. The tutor marking is returned to you with a clear explanation of where the marks came from and more importantly suggestions on how to improve or to help consolidate. Everything is geared for support, success and improvement. The study days or weekends are an extra bonus not only for the variety of course and theatre related activities but for also allowing you to meet face to face with other students and tutors. These have increased my support network (along with the email list you can put yourself on so that you can contact other students) for the tough times and have also introduced me to so many wonderful theatre-loving people. I make every effort to attend these. What is special about this course is that Rose Bruford sets a high value on its distance learning students and openly states this. Whatever it is they do they create a bond and I really feel part of Rose Bruford. Distance student? No, just student

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

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Joan Workman Taking a degree was a long-held ambition, especially after seeing my children through university. Now I am enjoying a fascinating, inspiring course in a subject I love. As well as widening my knowledge it has enriched my theatre-going and my life! If you are feeling hesitant, here's my prediction: you will find fun, friendship and the support and expertise of dedicated staff. I don't want it to end! Jolyon Kay I joined the course in its very early days. We were living in Cyprus, and I needed some intellectual exercise to keep up with my wife, an archaeologist who is here surrounded by her chosen subject. I chose theatre, which as an amateur actor /director has interested me all my life by a short head over political science, which would have taught me what (as a British diplomat) I had been doing most of my working life. I was lucky to have a marvellous theatre, the Watermill, near our English home, to study early on. I tried to do two modules a year to start with, but quickly decided that one was enough. There always, even in retirement, seemed to be too many other things going on! I struggled with Michael Walling over The Social Stage - he is a great, and even inspirational teacher if you have the good fortune to meet him, and I really enjoyed disagreeing with him, as indeed I did with most of my tutors. The high spots were the annual weekends where we met fellow students and spent hours on after-show discussions late into the night. There were really good lectures to keep us alert. And I made some really good and lasting friendships. Three students living here in Cyprus have just joined the course, so it will be great having someone to talk to and moan at. It's well worth finding others on the course to get together with, to go to a theatre together, but it's probably easier in England.

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

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Nicola Dent
I was looking for a course I could do for my own enjoyment but it had to be something Distance Learning so I could fit studying around working full time. I have always been interested in the theatre and have been involved for a number of years in a local amateur theatre company so enrolling on a course that allowed me to learn more about how it all works seemed ideal. I looked around for a while but Rose Bruford was the only college that offered a subject like Theatre Studies as a Distance Learning option as well as the chance to work towards a degree qualification. The course itself offers a wide range of interesting modules which you study through a mixture of your own reading and research, exercises, responses from tutors and information provided by the tutors. You have to really engage with the material and be prepared to read around a subject to get the most out of it but if you do that it really is worth it and opens your eyes to the world of theatre in a way you don't get just by watching plays. Heather Leech The tutors are always there to support students and you should never be afraid to ask for help or to say if you are struggling. Rose Bruford College works hard to create a supportive learning environment for students studying a subject through Distance Learning and I don't think there is another college like it in the country. My experience of the course and what it has done for me already is incredible and I'm only in my second year! I gave gained so much in terms of learning about the theatre, my enthusiasm and interest has turned into an in depth study at a higher level than I have done before. Being led through the structured courses which are so clearly put together is a delight. This has definitely improved my own teaching too. In addition, even though my school cannot help financially, my Head has been impressed with my self motivation and this has led to a promotion. The RBC staff/tutors are very friendly, helpful and supportive and the study days are just the best! There are no negatives, except I wish I'd known about it earlier.

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Q: Who do I contact if I have further questions? If you have further questions concerning the programme and would like to discuss these before applying, please contact Jayne Richards, the Programme Director, on +44 (0) 208 308 2659 or at jayne.richards@bruford.ac.uk Q: Am I eligible for credit exemption? Students with prior certificated or experiential learning in related areas may be eligible for credit exemption. Please see the forms sent with this e-brochure. To discuss whether you could be entitled to put in a claim, please contact the Programme Director who will advise you. Q: How do I apply? To enrol you must complete the application form enclosed with this pack and send it to the College. On receipt of your application, the Programme Administrator will contact you for an informal chat and to arrange a time for your interview which will can undertaken over the telephone. If you are offered a place you will be contacted to discuss your choice of module(s) for your first year of study. Q: When will I receive access to my Study Materials? On successful offer of a place, you will be sent a link to your Induction Module and Preparatory Units to allows you to begin work straight away. Applying early means you have additional time to organise your studies in readiness for the start of the new academic year. Your links to Module materials is dispatched in August. Places will be allocated prior to this date. Students joining the programme late may be advised to take fewer modules. Q: How do I pay my fees? Fees are payable by cheque, standing order or credit card so it is possible to spread the cost. Please see the additional information sent this brochure regarding fees and payments. If you have any questions concerning methods of payment please contact Olivia Wong (Finance Department) on +44 (0) 208 308 2606 or at olivia.wong@bruford.ac.uk

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Q: Am I eligible for funding? Some applicants will be eligible to apply for Government funding please contact your Local Education Authority and ask about funding for part time higher education courses. Q: Do I have to attend classes or events at the College? There are no obligatory events but there is an Induction Day for all new Theatre Studies students in the autumn each year and a Study Weekend in the spring. You will also be able to attend the Colleges annual Symposium, special guest lectures, master classes and performances, details of which will be sent to you. These events provide an ideal opportunity for you to make contact with your fellow students, meet tutors and staff, and to see the College.

For further information please contact: Mary Lynch Programme Administrator: Theatre Studies, Rose Bruford College, Lamorbey Park, Burnt Oak Lane, Sidcup, Kent, DA15 9DF Tel: +44 (0) 20 8308 2660 Fax: +44 (0) 20 8308 2628 Or E-mail: mary.lynch@bruford.ac.uk Website: www.bruford.ac.uk The information in this pack is correct as at October 2011

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

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