Handbook 2011-12
BASICS
Introduction
This document is intended mainly for those who are new to the University. It is offered as a guide to our various workings – academic, administrative,and social.
There is a great deal of information of both an academic and general nature to be assimilated over the year. In Theatre Studies there are several notice boards on which you will find information concerning your modules (including details of seminar groups and module tutors) located in the Theatre Studies foyer in Millburn House. In addition, you will find there is a list assigning you to a member of staff who will act as your Personal Tutor.
Also in Theatre Studies you will find the Student Pigeonholes; post is delivered to these each day - not just personal letters but various University communications, for instance, from the Library, from student clubs and societies, and from your tutors. Check your pigeonhole regularly; it may well contain significant news. Tutors will also contact you by email so it is important to check your Warwick email account regularly.
Theatre Studies is located in Millburn House. Theatre Studies has a Studio in the Humanities Building located about 15 minutes walk from our main site. Please allow sufficient time to travel between the buildings.
Communication
Our primary means of communicating information about the course is via email. Additionally we maintain this handbook as a resource for all guidelines and regulations, sources of assistance, advice on essays etc in this handbook. Some information is posted on the noticeboards near the Theatre Studies foyer (typically class lists). In addition indivual members of staff will usually post sing-up sheets for tutorials outside of their offices.
Students are contacted via their warwick email address. Please ensure that you check this regularly as this will not only contain Theatre Studies information but other critical notifications such as impending library fines, road closures etc. Students access email via the live@edu interface as outlined below:
Overview
IT Services provides students with an email account hosted by Microsoft's Live@edu service. This ensure we can deliver a feature rich email service in a cost effective way.
It is our intention to migrate all staff to this service over the coming months. For further information on this project please click here.
Accessing Live@edu
You can access your Live@edu email from http://go.warwick.ac.uk/mymail
Your Windows Live ID is: usercode@live.warwick.ac.uk - your usercode is the 6 character code you use to log-in to Warwick sites and applications. This is not your University email address, this will be in the form of firstname.lastname@warwick.ac.uk
Your Password will be your normal IT Services account password.
What is Live@edu?
Live@edu is a Microsoft-hosted service which provides users with:
Outlook Live - a 10GB email account
Support for calendars, contacts and tasks within the email account
Windows Live Messenger instant messaging is a fully integrated part of the Live@edu service
Mobile phone access is fully supported via the Activesync system; any phone which supports Activesync (Nokia, Windows Mobile, Apple iPhone, Palm Pre) can have email, calendar, contacts, etc. synchronised between the phone and the desktop.
Office Live Workspace - store, access, edit and share your documents and files online.
School Map
Use the search facility at the top of the map to identify Millburn House, Theatre Studies, Library and other buildings mentioned in this document. A downloadable campus map in pdf format can be found here
Millburn Ground Floor Map
Please note that the offices for Milija Gluhovic, Silvija Jestrovic, Susan Haedicke, Margaret Shewring, Yvette Hutchison and Rob Batterbee are located on the First Floor (not shown)
Staff Contact Info
| Name | ROOM | Tel (int) | |
| Prof. Jim Davis | G27 | 74842 | jim dot davis at warwick dot ac dot uk |
| Dr Milija Gluhovic | F04a | 74773 | m dot gluhovic at warwick dot ac dot uk |
| Dr Susan Haedecke | F05 | 50611 | S dot Haedicke at warwick dot ac dot uk |
| Prof. James Harding (from January) |
G23 | 23021 | tbc |
| Dr Nadine Holdsworth | G25 | 22878 | n dot holdsworth at warwick dot ac dot uk |
| Dr Yvette Hutchison | F04b | 74278 | y dot a dot hutchison at warwick dot ac dot uk |
| Dr Silvija Jestrovic | F04 | 73100 | s dot jestrovic at warwick dot ac dot uk |
| Prof. Janelle Reinelt (until January) |
G23 | 23021 | J dot Reinelt at warwick dot ac dot uk |
| Dr Margaret Shewring | F02 | 23022 | m dot shewring at warwick dot ac dot uk |
| Dr Tim White | G24 | 72534 | t dot white at warwick dot ac dot uk |
| Dr Nicolas Whybrow | G26 | 24925 | n dot whybrow at warwick dot ac dot uk |
| Cate Brennan (Secretary) | G29 | 23020 | C dot Brennan at warwick dot ac dot uk |
| Claire Nicholls (Administrator) | G28 | 50390 | Claire dot Nicholls at warwick dot ac dot uk |
Study leave:
Autumn Term: Yvette Hutchison
Spring Term: Nicolas Whybrow, Silvija Jestrovic
Visiting Tutors 2011/12
| Dr Wallace McDowell | W dot B dot McDowell at warwick dot ac dot uk |
| Saul Hewish | Saul at actingout dot co dot uk |
| Richard Bate | rich dot bate at yahoo dot co dot uk |
| Dr Gerry Cousin | via C dot Brennan at warwick dot ac dot uk |
School Officers
Head of School: Nadine Holdsworth
MAIPR Director : Milija Gluhovic
MA Theatre Consultancy Director: Margaret Shewring
Director of Undergraduate Studies: Tim White
Director of Graduate Studies: Nicolas Whybrow (Autumn/Summer) Jim Davis (Spring)
Director of Research: Jim Davis
Chair of practice-based working group : Susan Haedicke
Undergraduate Admissions: Silvija Jestrovic (Autumn/Summer) Yvette Hutchison (Spring)
Department Senior Tutor: Nadine Holdsworth
Joint Students Co-ordinator: Tim (Autumn) Yvette Hutchison (Spring/Summer)
Postgraduate Admissions (Theatre & Performance): Nicolas Whybrow / Claire Nicholls
Exams Officer: Tim White
SSLC Convenor: Susan Haedicke
International Exchange Officer – Milija Gluhovic
Widening Participation Officer – Tim White
Equality & Diversity Network - Margaret Shewring
Health and Safety Officer - Claire Nicholls
Careers and Alumni Officer - Margaret Shewring
Humanities Research Committee: Jim Davis
Research Seminar Organisers – Jim Davis
Web: Tim White/Claire Nicholls
Library Rep: Margaret Shewring
SCUDD Rep: Milija Gluhovic
External Examiner Prof. Helen Nicolson
Timetables
1st Year
2nd Year
3rd Year
Term Dates
2011/12
Autumn Term
Monday 3rd October 2011 - Saturday 10th December 2011
Spring Term
Monday 9th January 2012 - Saturday 17th March 2012
Summer Term
Monday 23rd April 2012 - Saturday 30th June 2012
2012/13
Autumn Term
Monday 1st October 2012 - Saturday 8th December 2012
Spring Term
Monday 7th January 2013 - Saturday 16th March 2013
Summer Term
Monday 22nd April 2013 - Saturday 29th June
2013/14
Autumn Term
Monday 30th September 2013 - Saturday 7th December 2013
Spring Term
Monday 6th January 2014 - Saturday 15th March 2014
Summer Term
Wedesday 23rd April 2014 - Saturday 28th June 2014
TUTORS/MENTORS
The Tutorial System
Departmental Senior Tutor: Nadine Holdsworth
The Personal Tutor system at the University of Warwick is a vital and central part of campus life. Personal Tutors, working in conjunction with the wide range of services available to students, are expected to provide such support, advice and guidance to students as may be necessary or appropriate to enable them to gain the most from their studies at the University.
The primary aims are to make it easier for personal tutors to carry out their role, and for tutees to know what they can, and cannot, reasonably expect from their personal tutors, it being a key premise of these guidelines that the system can only work effectively if both staff and students are fully aware of, and carry out their responsibilities as follows:
The role of the Personal Tutor is primarily:
- To assist students with the process of induction and orientation into University life and to retain an interest in their personal and academic development throughout their academic careers;
- To provide academic advice to personal tutees on their progress and development;
- To give students help and advice about pastoral/non-academic matters insofar as s/he is competent to do so;
- To signpost and refer students on to professional University support services for further assistance if necessary;
- To seek to ensure that no student withdraws from the University prematurely for want of support and guidance;
- To signpost students to relevant careers / skills provision.
The role of the Personal Tutee is:
- To be responsible for their own academic development and achievement by contributing positively to a productive working relationship with the personal tutor;
- To respond promptly to an invitation to attend a personal tutorial meeting;
- To be an active engaged member of their departmental academic community.
The role of the Department Senior Tutor is:
- To be responsible for the effective operation of the personal tutor system in their department, including making sure that students know who is their personal tutor;
- To provide support and guidance to students if the personal tutor is unavailable;
- To provide support and guidance to members of academic staff who are personal tutors;
The role of the University Senior Tutor is:
- To promote the academic welfare of students, collectively and individually;
- To be responsible for the effective operation of the personal tutor system across the university;
- To provide a sympathetic person to whom students can turn to in confidence for support regarding difficulties with their studies, if no other source of support has been able to help;
- To provide help and advice to academic members of staff who are Personal Tutors.
The University Senior Tutor is normally consulted only when all other sources of help and support have been exhausted.
For more information on the Personal Tutor System please see
http://www2.warwick.ac.uk/services/tutors/personaltutors/
Frequency of Meetings
Generally, Tutors will meet with their tutees every other week in their first term at Warwick, ususally meeting with students as a tutor group and then at least once per term for the second and third terms, usually on an individual basis. In the second and third year, tutees should meet with their tutors at least once per term, signing up for a tutorial using the sign-up sheets posted on the tutor's door or by prior email arrangement.
Feedback from Tutors
Your personal tutor will offer academic guidance throughout your studies and as part of that process will have access to and discuss with you the feedback you receive from module tutors. If, for any reason, you do not want to discuss your academic progress with your personal tutor or would like to request a change of tutors please email our Senior Tutor, Nadine Holdsworth N.Holdsworth@warwick.ac.uk
Tutor Groups - 1st Year
* = student changes tutor (you retain the same mentor)
AUT = Autumn Term, SPR = Spring Term
Study Leave 11/12 AUTUMN Yvette SPRING Nicolas, Silvija
|
Prof. Jim Davis MENTOR: Cheryl McGee Dr Milija Gluhovic MENTOR:Abigail Smith Dr Susan Haedicke MENTOR:Rachel Maughan Dr Yvette Hutchison MENTOR:Harriet Onyett |
Dr Silvija Jestrovic MENTOR:Mia Lake Dr Margaret Shewring MENTOR:Rachel Tyrell Dr Tim White MENTOR:Oriana Casey
MENTOR:Amy Thompson Prof. James Harding MENTOR: Mia Lake |
TUTOR GROUPS - 2nd Year
* = student changes tutor
AUT = Autumn Term, SPR = Spring Term
Study Leave 11/12 AUTUMN Yvette SPRING Nicolas, Silvija
| Prof. Jim Davis Max Allsup Thomas Fowler Alexandra Moxon Matthew Bent (AUT) Dr Milija Gluhovic Emrys Barnes Gayatri Chanrai William Francis Bogdana Gamburg [ERASMUS] tbc Mikko Karvinene [ERASMUS] Harriet Onyett Meg Coombs (AUT) Dr Susan Haedicke Sophie Barnett Yolande Goodman Fiona Joseph Mia Lake Joao Pedro Christovao Leitao [ERASMUS] Jade Sellars Josh Goulding (AUT) Dr Yvette Hutchison Matthew Bent* Meg Coombs* Josh Goulding* Zoe Lambrakis* Zoe Templeman-Young* Charlotte Finley (SPR) |
Dr Silvija Jestrovic Zara Harris* Indigo Lefevre* Amy Thompson* Zoe Lambrakis (AUT) Dr Margaret Shewring Jessica Brooks Jodie Duthie Maria Hildebrand Catherine Lynch Rachel Toner Koki Yamanaka Zoe Templeman-Young (AUT) Dr Tim White Annie Burge (Sophie Hindley - exchange year) Samantha McLaughlin Rachel Tyrell Alice Carter (SPR) Julie Holman (SPR) Dr Nicolas Whybrow Alice Carter* Charlotte Finley* Julie Holman* Fiona Moore* Elinor Vinen* Prof. James Harding Zara Harris (SPR) Indigo Lefevre (SPR) Amy Thompson (SPR) Fiona Moore (SPR) Elinor Vinen (SPR) |
TUTOR GROUPS - 3rd Year
* = student changes tutor
AUT = Autumn Term, SPR = Spring Term
Study Leave 11/12 AUTUMN Yvette SPRING Nicolas, Silvija
|
Dr Milija Gluhovic
Dr Nadine Holdsworth Dr Yvette Hutchison |
Dr Margaret Shewring Prof. James Harding |
MENTOR SCHEME
The scheme is run by students for students. Your peer mentor will be able to give you a student perspective on a whole range of topics, and has the advantage of having already experienced what you are experiencing as a new Warwick student
Guidelines for mentees (First years)
Mentoring occurs through a series of conversations in which one person (Mentor) draws on their experience, expertise and knowledge to advise and guide a less experienced person (Mentee) in order to enhance their performance or support their development.
The coming few weeks and months will provide an exciting and new experience as you embark on your studies, but will also provide some challenges in learning and understanding. By being part of the Theatre Studies Mentoring Scheme you can meet with your mentor to help you get used to your studies and settle into the new environment.
Your mentor’s role is to:
- - Share their experiences, thoughts and ideas,
- - Listen, sympathise and ask questions,
- - Encourage action when something has been identified as important to you,
- - Advise and guide within area of expertise, not offer solutions,
- - Not know all the answers – but know when to redirect mentees to the right place within the University or ask for help from the Student or Staff Co-ordinator
- - To look out for their mentee’s general well being,
- - Discuss and agree the Mentoring Agreement with the mentee, with both retaining an individual copy.
Your role is to:
- - Consider and share what you are looking for and seek the mentor’s advice,
- - Take an active role in considering how the mentoring relationship is going to work,
- - Assess the progress of the relationship – be open and honest if the mentoring relationship is working, do priorities need to be reset,
- - Follow up on action points agreed and do the necessary preparation for the next meeting,
- - Listen to the mentor, be able to receive feedback and consider options from the mentor’s perspective,
- - Be considerate of your mentor’s time,
- - Discuss and agree the Mentoring Agreement with your mentor, with both retaining an individual copy.
Mentors will provide you with a variety of support:
- - Discussion of what modules contain and module choices for later years
- - Information regarding the format of lectures and seminars, lecturers’ styles and how to get the most from them
- - Advice regarding submitting and receiving assessed work, using the library and reading lists effectively
- - Social opportunities at Warwick, including sports and societies, Warwick Volunteers, etc;
- - Provide general advice on the local area including; registering with healthcare professionals, transport links, etc;
- - Referral information for issues that are beyond the scope of a mentor such as; academic coaching, Directors of Undergraduate Studies, Personal Tutor, Student Support Services.
It is important to remember a few things about the mentoring scheme:
- - Your mentor is not taking the role of your personal tutor, senior tutor or a counselor. If topics come up that they are not comfortable talking to you about – or are not qualified to deal with they will tell you. Your mentors are there to offer friendly advice and guidance within areas of their expertise and they can signpost you to the Student Support Services, Senior Tutor or Theatre Studies department at Warwick. If any concerns arise affecting the mentoring relationship the mentor may seek the appropriate support from the Student Co-ordinator, C dot Solman at warwick dot ac dot uk or the Staff Co-ordinator t dot white at warwick dot ac dot uk Both are also able to support with any scheme specific queries e.g. changes to mentoring relationship, supporting documentation, etc.
- - The relationship between the mentor and mentee is designed to lead to independence rather than dependence and should be a positive experience for all involved, so it is important to be mindful of your behavior and to treat this relationship as a professional one, albeit informal and friendly.
- - As you progress during the mentoring relationship you feel more comfortable you may need progressively less advice. However, mentors are encouraged to keep the channels of communication open – in case they are needed.
- - Please remember your mentor is a volunteer and will probably have plenty of things going on with their research and life which requires their time and commitment. It is important to stick to the agreement you have made regarding when and how you will make contact with your mentor.
- - You might want to talk about research methodologies and good research practice. However, mentors are not expected to provide detailed subject specific advice. For example:
o Give detailed comments on drafts of written work,
o Provide advice on departmental policies
o Provide detailed advice on academic issues such as referencing practice
o Act on behalf of the mentee, for example raising an issue of concern to the mentee with someone else.
Part of your mentor’s role is to share ideas, it is your responsibility to find out this information.
As part of your role you should familiarise yourself with:
- Code of Ethics of the Scheme
- Initial Meeting guidelines
- Mentoring Agreement
There are various options to support both mentors and mentees in terms of learning from the experience or exploring any difficulties encountered.
- - Student Support Services for support and welfare structure
- - Senior Tutor for support on academic and personal advice
- - Theatre Studies department for information and advice relating to your study
- - Student Co-ordinator or Staff Co-ordinator to support mentors by helping them to think through how to respond if a problem has arisen affecting the mentoring relationship - for instance, difficulty in focusing the conversation, concerns about the mentee’s behaviour, the possible need to seek appropriate professional support for the mentee, C dot Solman at warwick dot ac dot uk / t.white@warwick.ac.uk
- - Student Co-ordinator or Staff Co-ordinator to support mentors and mentees with scheme specific queries e.g. copies of documentation, changes to mentoring relationship, feedback C dot Solman at warwick dot ac dot uk/ t.white@warwick.ac.uk
MENTORS
Student Co-ordinator - Chloe Solman
Assistant Student Co-ordinator - Amy Thompson
Jim Davis - Cheryl McGee
Milija Gluhovic -Abigail Smith
Susan Haedicke - Rachel Maughan
Yvette Hutchinson - Harriet Onyett
Silvija Jestrovic / James Harding - Mia Lake
Margaret Shewring - Rachel Tyrell
Tim White - Oriana Casey
Nicolas Whybrow - Amy Thompson
SSLC (Staff-Student Liaison Committee)
The minutes and list of elected students comprising the SSLC can be found at http://www2.warwick.ac.uk/sunion/sslc/arts/theatre/
From the SSLC Handbook –
http://www2.warwick.ac.uk/sunion/sslc/handbook/
SSLCs are committees made up of student representatives and members of academic staff.
They provide an accessible arena for students to discuss with staff issues connected to teaching, learning and student support. They also provide an opportunity for the department to receive feedback from students, particularly if changes to a course are proposed.
The SSLC should ALWAYS be consulted of any major changes to course structures or content.
SSLCs SHOULD NOT consider matters relating to named members of staff or students, nor are they the place for students to air their personal grievances.
Key principles of the SSLC system
SSLCs can be organised in many different ways to suit the needs of the students they represent. The guidance in this handbook sets out a framework that should be suitable for the majority of SSLCs. Advice on arrangements for students on courses that do not follow the typical, full- time campus- based pattern is included below.
All SSLCS, however they are organised should be guided by the following principles. SSLCs should:
Be student- led. SSLC reps should be proactive in organising the SSLC and, in consultation with the students they represent, in raising issues for discussion. The SSLC should have a student Chair and Secretary. All SSLC reps should take part in available training to help them fulfil their role
Be supported by a named Academic Convenor, who is a member of staff appointed by the Head of Department. Convenors should attend available briefing sessions to gather information and share good practice
Provide an accessible forum to enable students to discuss teaching, learning and student support issues with staff in an open manner, within the framework of a formal structure. The department should consult with the SSLC on new proposals, including changes to courses
For full- time, campus- based courses, meet at least four times per year, and for part- time campus-based courses, meet at least twice per year. Liaison mechanisms that do not involve face- to- face meetings (eg for some distance learning courses) should provide students with a least a similar frequency of structured opportunities to raise and discuss issues with staff
Encourage the resolution of issues and improvements at a departmental and/or course level. Issues raised through the SSLC should be discussed regularly and promptly at staff meetings. An SSLC rep should be encouraged to attend departmental staff meetings: See SSLC Meetings
Ensure that discussions and resulting actions are documented and disseminated to the student body represented through the SSLC. This is key to the credibility and success of the SSLC
Produce an annual summary of issues discussed and actions taken, to feed into University and Students' Union decision- making process and encourage action at an institutional level
Not consider matters relating to named members of staff or students, or personal concerns or grievances. Advice on how to raise individual issues is included at the end of the SSLC handbook –
http://www2.warwick.ac.uk/sunion/sslc/handbook/
The Data Protection Act
This Act, which came into effect in 2000, stipulates that no personal information can be passed on to others without your permission. It is important that, if you are ill or have serious personal problems, you both provide medical notes (which will be used, if necessary, to excuse late work or other problems) and that you inform your personal tutor, or another member of staff, in writing, if you wish these circumstances to be taken into account in the event of your academic work suffering. Without your permission in each instance, your tutor (or another member of staff) cannot by law use such personal information in your best interests. A sample form to inform your personal tutor of personal/medical problems is included with this handbook. Copies of the form are available from Cate and can also be downloaded as a Word document from the Departmental Intranet –
http://www2.warwick.ac.uk/fac/arts/theatre_s/resources/
MITIGATING CIRCUMSTANCES FORM
STUDENT SUPPORT & DEVELOPMENT
Introduction
Whilst we hope that your time at Warwick will be positive and successful, we recognise that at different stages you may need some support to enable you to take full advantage of what being a student at Warwick can bring.
Listed below are details regarding some of the student support and development services that are available at Warwick. If you don’t find what you are looking for, feel free to contact the Student Support and Development Reception which is located on the Ground Floor of University House.
Student Support Services website
Student Support and Residential Life
Location: Ground Floor, University House
Email: seniorwarden@warwick.ac.uk
Telephone: +44 (0) 24 765 23465
Student Support and Residential Life brings together Residential Life, Mental Health, links with Campus Health Services, the Nursery and first-point student support. Urgent queries and cases that require a rapid response should now be sent to the Student Support and Residential Life Office in the first instance. This team works closely with the student support team within the International Office and Advice &Welfare Services in the Students’ Union.
The different parts of this division are shown below:
Residential Life
Location: Ground Floor, University House
Email: seniorwarden@warwick.ac.uk
Telephone: +44 (0) 24 765 23465
Every campus residence has residential staff within it who are there to provide support to and development opportunities for students in their areas. In addition they are there to ensure that residences provide a safe and comfortable place to live and study and have responsibility for enforcing discipline on the rare occasions it is required. Students living off campus will be told if they have any residential staff living in their area. If not, they can contact Warwick Accommodation if they have issues regarding their accommodation, and the Student Support and Residential Life Office or any service listed below for other issues.
Mental Health
Location: Ground Floor, University House
Email: diane.cook@warwick.ac.uk
The Student Mental Health Co-ordinators provide information, support and, if needed, access to other services for students who have mental health problems. They work closely with other Student Support Services and in liaison with Health Professionals to ensure students receive the support needed to help them to manage their studies and life at university.
Students are encouraged to disclose their mental health issues either at enrolment or at any time afterwards so that they can actively take part in how best to manage any difficulties that may arise.
Nursery
Location: Westwood Campus
Telephone: 024 765 23389
Email: nurseryenquiries@warwick.ac.uk
Web: go.warwick.ac.uk/nursery
The Nursery sits within the division of Student Support and Residential Life to enable better integration of approaches to services for children and families. The Nursery operates as a separate unit and we are looking forward to the development of the new expanded nursery as it takes shape over the coming year. Registered for 47 children aged between 3 months and 4 years, the University Nursery is based on Westwood campus with a dedicated baby unit for 15 under twos and a larger “pre-school” unit for 2, 3 and 4 year olds. Registered with OFSTED, we accept 3 and 4 year olds eligible for LEA funding, as well as employer-based childcare vouchers.
The Nursery provides a welcoming, safe, stimulating and challenging environment, providing for children’s social, emotional, physical and moral development to enable them to grow and develop to their full potential. We strive to create an atmosphere of working in partnership with parents and carers so that the children are happy to attend Nursery and you feel confident about leaving your child in our care.
We believe that children learn best through play. In a Nursery as unique as ours, where children can experience as many as 20 different languages and cultures in the course of a normal day, we feel that by allowing the children to express themselves through their play and some carefully structured activities we are allowing them to develop at a pace that makes sense to them.
The Health Centre
Location: Health Centre Road, Main Campus
Telephone: 024 76 524 888
Web: http://www.uwhc.org.uk/
There are two medical practices based at the University Health Centre providing a full range of general practitioner services for registered patients. The Health Centre has both male and female doctors (although a doctor will not be at the centre throughout the opening times), Nurse Practitioners and Practice Nurses. Both practices run an appointments system for consultations with the doctors and the nurses.
The Health Centre offers sexual health and contraceptive clinics, travel clinics and immunisation facilities. There are also physiotherapy sessions at the health centre to which doctors can refer patients.
If ill, registered patients will be given an appointment at the Health Centre as soon as possible. If the Health Centre is closed, arrangements can be made for an emergency consultation. Full information is provided when students register with one of the GP practices.
International Students resident here on courses lasting more than three months are entitled to full NHS (National Health Service) facilities. The NHS does not cover students on courses of less than three months, unless they come from a country, which has a reciprocal arrangement with the UK, or from the EEA and have an European Health Card, and then only if the need for treatment arises while the student is resident in the UK.
Students on courses of study of less than three months in duration are advised to take out private medical insurance before they arrive in the UK where possible.
Registering with the Health Centre
To use the Health Centre, you must register with them as soon as you arrive at University. In an emergency, the Health Centre may be able assist non-registered students. Students who are resident on campus or within the catchment area of south-west Coventry are strongly advised to register with the Health Centre on campus (Please note, Leamington Spa does not fall within the catchment area). Students resident outside this area are advised to register with a practice close to where they are living (www.nhs.uk/englandcan help find a local doctor, dentist, optician, pharmacist etc).
Non-registration with a doctor may cause problems if you are ill or you need a doctor in an emergency.
New students living on campus or within the South West area of Coventry should register with the Health Centre during enrolment week in the Students’ Union Building North. You will need to provide the following information to register:
- · your NHS number(bring your NHS Medical Card) if you have lived in this country before (essential).
- · the name and address of your present (most recent) GP in this country
- · Details of any immunisations you have had and any past medical history
- Many students from overseas have been to British Boarding Schools or lived in this country before and would have been registered with a GP then – you must ensure that you bring with you your NHS number and name of the GP practice you were registered with.
Senior Tutor
Location: Ground Floor, University House
Email: seniortutor@warwick.ac.uk
Web: go.warwick.ac.uk/seniortutor
For guidance and advice on academic matters which you have not been able to resolve with either your personal tutor or your departmental Senior Tutor, you may contact the University’s Senior Tutor who offers an important service to students. See:go.warwick.ac.uk/seniortutor
The Senior Tutor liaises with closely with both the Personal Tutor system and student support and development services on campus.
University Counselling Service
Location: Westwood House, Westwood Campus
Email:Counselling@warwick.ac.uk
Web: go.warwick.ac.uk/counselling
The University Counselling Service has a number of professionally trained counsellors who offer a confidential service to students who feel that emotional or psychological problems are affecting their ability to study or function properly whilst at the university. Students may be seen individually or in groups. The service also organises single session groups on study skills, time management and stress management throughout the academic year.
For more information on the service and resources such as self help material and email counselling see our website
at:go.warwick.ac.uk/counselling
University Disability Services
Location: Ground Floor, University House
Email: disability@warwick.ac.uk
Telephone: 024 765 73734
Web: go.warwick.ac.uk/disability
Disability Services is part of the Student Development and Diversity Division. We advise and provide services for students who can define as 'disabled' under the Disability Discrimination Act. This includes physical and sensory impairments, learning differences (e.g. dyslexia, dyspraxia, dysgraphia, dyscalculia), autistic spectrum conditions, mental health difficulties, 'unseen' conditions (e.g.asthma, epilepsy, diabetes, heart conditions), and other conditions (e.g. CFS, ME) for example.
We encourage applicants and students to notify us on application, enrolment or at any time later of a disability, learning difference or other condition in order that we can provide advice and services to facilitate study at the University. We can also advise on whether individual circumstances are definable as a 'disability' under the law and thus whether students are entitled to have reasonable adjustments made for their studies. Information provided to Disability Services is held in confidence and is only shared with written agreement. We do encourage information sharing to enable the university to make any reasonable adjustments required.
For further information or advice, including advice on Disabled Students Allowances, please contact disability@warwick.ac.uk, telephone the Disability Co-ordinator on 02476 573734 or visit the website:
The International Office
Location: First Floor, University House
Telephone: +44 (0)24 765 23706
Web: go.warwick.ac.uk/international
The International Office warmly welcomes all new international students to the University of Warwick.
We are a friendly team of experienced staff, here to support all EU and overseas students during your studies at the University of Warwick. We would like you to come and see us if you have queries or difficulties about anything during your stay. We run the annual Orientation induction programme for new international students, and throughout the year we help with queries about police registration, banking and student status letters. We also work pro-actively to give you opportunities to improve your student experience at Warwick by organising a programme of cultural days out and social events for students and families and administering the HOST programme (a national programme enabling overseas students to stay with families across the UK). We have a team of qualified advisers who provide free, confidential immigration advice and assistance. We provide advice on matters such as extending your visa, travelling abroad and working visas and regulations.
We also support foundation, visiting and exchange students who are here under Erasmus partnerships or any other of the wide range of exchange agreements and visiting programmes (including JYA).
As well as dedicated student support staff, we have regional teams who are responsible for students from particular areas of the world. You may have met some of these staff before at exhibitions or at pre-departure receptions or school visits, and you are very welcome to refer to your individual contact after you arrive.
Our office is situated on the first floor of University House and is open from 9am to 5pm Monday to Thursday and 9am to 4pm on Fridays (tel: +44 (0)24 765 23706).
The Chaplaincy
Location: Main Campus (near Arts Centre)
Web: go.warwick.ac.uk/chaplaincy
At the heart of central campus, the Chaplaincy is a vibrant space open to all members of the University community. You can come here for meetings, to relax or study together, enjoy light refreshments, or spend time in public worship or quiet thought. It’s a popular gathering place that welcomes students of any or no faith.
The Chaplaincy is home to the Anglican, Roman Catholic, Free Church and Jewish chaplains, who are always glad to meet students socially and pastorally. As a valued part of the University’s Welfare network, the chaplains offer everyone a sympathetic ear in total confidence. The University also has a dedicated Islamic Prayer Hall immediately adjacent to the Chaplaincy building.
Students’ Union Advice and Welfare Services
Location: Students’ Union North
Web: http://www.sunion.warwick.ac.uk/portal/advice/
Advice and Welfare Services is a confidential Students’ Union service and is independent of the University. We can give information and advice on many areas of University life including:
- · Accommodation and housing
- · Problems with your course, lecturer, supervisor or department
- · Money and debt problems
- · Support and representation with complaints, appeals, and disciplinary matters
- · Legal and police problems
- · Consumer problems
- · Immigration advice
- I If you are not sure who to talk to or where to get advice try Advice and Welfare Services first. If it is not us we probably know who the right person is and can help put you in touch.
http://www.sunion.warwick.ac.uk/portal/advice/
The University and Students' Union also takes its responsibilities for Equality and Diversity and the eradication of Bullying and Harassment very seriously. The relevant web pages are listed below:
Equality and Diversity:
Bullying and Harassment:
go.warwick.ac.uk/harrassmentguidelines
Sexual, Racial and Personal Harassment
The University and the Students’ Union regard all forms of harassment as unacceptable and are prepared to take disciplinary action against offenders. Both the University and the Students’ Union are committed to creating a community that is free from harassment and discrimination. Sexual, racial and personal harassment can seriously worsen conditions for staff and students at the University and may also, in certain cases, be unlawful.
The Sexual, Racial and Personal Harassment: Guidelines for Students website, go.warwick.ac.uk/harassmentguidelines, has the University’s statement of equal opportunities and full contact detail s for advice and assistance including:
University Senior Tutor and Counselling Service, telephone 024 7652 3761 or extension 23761
Students’ Union Advice and Welfare Services, telephone 024 7657 2824 or extension 72824
Welfare and Equal Opportunities Officer (Students’ Union sabbatical officer), telephone 024 7657 2778 or extension 72778
Nightline (please note that Nightline is a listening service and will not offer advice), 9pm-9am, telephone 024 7641 7668 or extension 22199
Chaplaincy, telephone 024 7652 3519 or extension 23519
Online Social Networking Sites
The use of online social networking sites (e.g. Facebook, Myspace, Beebo etc) has become a very significant part of the lives for many people. They provide a very positive way to keep in touch with people in different places, share common interests, exchange ideas, thoughts and content on academic matters, and to have fun.
There have been a number of examples where these services have been used for less positive reasons and it is because of this we offer these words of guidance:
- Ensure that you avoid using language which would be deemed to be offensive to others in a face-to-face setting as the impact on individuals is just the same.
- Avoid allowing the formation of an online group from isolating or victimising your fellow students or academic colleagues. That may not be your intention but if used carelessly it could be the impact that is achieved.
- Avoid using such services in classes unless your tutor has given the group express permission to do so.
- Please ensure that you never use such sites for accessing or sharing illegal content.
We encourage students to make use of such services. However, students should also be aware that the University will take seriously any occasions where the services are used inappropriately. If occasions of what might be read to be online bullying or harassment to students or staff are reported they will be dealt with in the same way as if it took place in a face-to-face setting. Information on the University’s acceptable use policy for IT and its disciplinary regulations can be found at the following sites:
Acceptable Use of IT:
http://www2.warwick.ac.uk/services/gov/calendar/section2/regulations/computing/
Careers
Graduates in Theatre and Performance at Warwick enter a wide range of professions e.g. Arts, Entertainment and Recreation; Information and Communication; Education; Science and Technology and Health and Social Work
The most recent information available from the Destinations of Leavers of Higher Education (DLHE) Survey tells us that of those who graduated in 2010:
• 13.5% went on to further study
• Graduate level jobs entered include: BBC intern; marketing co-ordinator; museum educator; trainee TV researcher; creative editor; theatre director; scriptwriter and National Theatre events intern.
• The average starting salary was £22,300
For more information on how the Careers service can help you realize your career aspirations see:
http://www2.warwick.ac.uk/fac/arts/theatre_s/resources/careers
For information on Drama Schools see:
Undergraduate Skills Programme
Use the Undergraduate Skills Programme to develop your academic, personal & professional skills, improve your marks, impress potential employers and network with other Warwick students.
Stand out from the crowd, identify, develop and know how to articulate what you have to offer.
Learn at your own pace, where, when and how you want to. Just choose which parts of the programme suit you best. The USP is free and available to all Undergraduates at Warwick.
Futher information about the opportunities available to you through USP can be found here
Disciplinary Regulations:
http://www2.warwick.ac.uk/services/gov/calendar/section2/regulations/disciplinary/
THE DEGREE COURSE
Attendance & Monitoring
Attendance at all lecture, seminar, practical and tutorial classes in Theatre Studies is obligatory. Any theatre visits related to your modules are also obligatory.If you are unable to attend because of illness, you should inform the module tutor as soon as possible. Attendance at all classes is deemed to constitute a necessary part of the completion of each module. We are required to report to the Teaching Quality section of the Academic Office annually setting out how we monitor student attendance and progression.
Authorised absence
You are required to inform ALL of your tutors, including personal and external tutors, of your absence, the nature of the placement or activity, the duration, and the fact that you have been granted permission by the School to be absent. It is your responsibility to ensure that you catch up with all work missed. Being granted absence is in no way an extenuating circumstance for unsatisfactory performance on the course. If you are absent without informing the staff concerned or, are absent having made a request to be absent and not been granted permission you will be marked as absent and be deemed to have failed to meet monitoring points as outlined in the handbook here - http://www2.warwick.ac.uk/fac/arts/theatre_s/ug/handbook_2011-12/#attendance_monitoring. The maximum permissible period of authorised absence is two weeks.
Departments are required to report to the Teaching Quality section of the Academic Office annually setting out how they monitor student attendance and progression. A summary report will be considered by the Academic Quality and Standards Committee. Departments are therefore being asked to identify a ‘monitoring structure’ showing how we will monitor student attendance and progression.
Departments are advised to offer support to students whenever it becomes apparent that they may be experiencing problems. Additionally (as a minimum),
► Where a student has missed three formal “monitoring points” in one academic year the student’s personal tutor/supervisor should meet with the student to discuss progress and consider referring the student where appropriate to the relevant University Support Service(s).
► Where a student has missed six formal “monitoring points” in one academic year the Director of Graduate/Undergraduate Studies should consider referring the student to the Continuation of Registration as set out in The Regulation on Student registration attendance and progress 13. The department may wish to seek advice on this from their Faculty Secretary or the Academic Office.
► Where a student has missed eight formal “monitoring points” in one academic year the Department or the Academic Registrar will need to invoke the process outlined in the Regulation on Student Registration, Attendance and Progress.
Departmental contact responsible for submission of monitoring reports:
Nadine Holdsworth
This monitoring structure applies to the following courses:
- BA in Theatre and Performance Studies ((Director of Undergraduate Studies: Tim White)
- MA by Research/MPhil/PhD in Theatre and Performance Studies (Director of Graduate Studies: Nicolas Whybrow)
|
Study Level |
Monitoring points |
|
Undergraduate |
Lead Academic: Director of Undergraduate Studies (see above) |
|
Autumn Term |
1. Attendance at 100% of departmental induction events 2. Attendance at initial meeting with personal tutor 3. Attendance at 90%+ of all seminars 4. Full participation in practice-based classes and rehearsals 5. Submission by the set deadline of 100% of all assessed coursework |
|
Spring Term |
6. Attendance at scheduled meeting with personal tutor to discuss autumn term 7. Attendance at 90%+ of all seminars 8. Full participation in practice-based classes and rehearsals 9. Submission by the set deadline of 100% of all assessed coursework 10.Attendance at scheduled meeting with personal tutor to discuss spring term |
|
Summer Term |
11.Attendance at all examinations 12.Submission of module choice form for following year (for 1st and 2nd years only) |
|
Summer Vacation |
None |
|
Monitored by: |
Attendance registers, liaison between module tutors and personal tutors, electronic submission of all assignments & student progress reports at all staff meetings. |
|
Research Postgraduate |
Lead Academic: Supervisor (annual report to be collated by Director of Graduate Studies) |
|
Monitoring Points (12 over the year) |
1. Monthly supervisions meetings/contacts (for students conducting field research or based overseas, this should include at least three face to face meetings) 2. Submission of progress report/piece of research for Graduate Progress Committee 3. Participation in annual Graduate Progress Committee |
|
Monitored by |
Student progress report by supervisor to staff meetings, GPC and annual review |
Course Aims and Learning Outcomes
Course aims:
- To provide research-led teaching that employs research materials, current writing projects and research through practice to develop student knowledge and understanding of a variety of research methodologies employed when studying theatre and performance.
- To give students a firm grounding in the discipline of theatre history to enable them to make critical, interpretative and creative judgements in the context of historical developments and change.
- To build on a firm historical and conceptual base in order to introduce students to the work of key contemporary playwrights, theoreticians and theatre practitioners, and to the debates that have underpinned developments in contemporary performance practice.
- To encourage students to build their own critical and creative responses to a range of theatre and performance.
- To provide opportunities for individuals to develop transferable skills that will benefit them for future study or the workplace.
Learning outcomes:
Subject Knowledge and Understanding
- Broad knowledge and understanding of key developments in theatre history
- Knowledge of historical and contemporary contexts of production and the impact on forms and styles of theatre.
- An awareness of a range of key theatre movements, theorists and practitioners in relation to their historical, social and cultural context.
- An awareness of the interplay between theory and practice within the area of theatre and performance studies.
- An awareness of the conceptual and creative processes that underpin the realisation of performance.
Cognitive Skills
- Skills in information retrieval and the ability to interpret and critically analyse available evidence.
- The ability to develop ideas and construct arguments.
- The ability to identify issues, formulate questions and engage in problem-solving.
- The ability to undertake independent research.
Subject-Specific Skills/Professional Skills
- An ability to describe, theorise, interpret and evaluate theatre texts and performances from a range of critical perspectives.
- An ability to identify the historical and cultural frameworks that underpin the creation and interpretation of theatre and performance.
- An awareness of practical processes employed in the creation and realisation of contemporary performance.
- An ability to conduct independent research, whether investigating past or present performances, or as part of the process of creating new performance.
Key Skills
- Written communication skills
- Oral communication skills
- Working with others
- Problem solving
- Information technology
- Independent learning
- Time management
Progression through the Course:
First-year work lays down the foundations for further, more detailed, study in the two subsequent years of the course. Through a range of options, second-year students are offered opportunities to examine in greater depth aspects of theatre which were introduced in the first year and/or to pursue new areas of study. All third years are required to take either a Research Topic or a Practical Option and then select three options which are based on current or recent research by members of staff. Students are expected to engage with this work with an appropriate level of analytic and investigative rigour. Progression is therefore from foundation core modules to an increasingly student and research-led mode of study.
Course Regulations
Course: W421 - Theatre and Performance Studies
Course Requirement
Candidates must satisfy the University’s General Entrance Requirements and should preferably possess an ‘A’ level pass in Theatre Studies.
Scheme of Study
Three years full-time study leading to the degree of BA (Honours) in Theatre and Performance Studies or of BA (Pass) in Theatre and Performance Studies (UCAS module no. W440).
First Year
Students are required to take three core modules:
Core Modules
|
TH111 |
30 |
|
|
TH112 |
30 |
|
|
TH113 |
60 |
Second Year
Students are required to take one core module and two modules from the list of optional modules below. Please note that options available may change from year to year (options shown are offered in 2011/12) and may include:
Core Module
|
TH216 |
60 |
Optional Modules
|
TH208 |
30 |
|
|
TH205 |
30 |
|
|
TH214 |
30 |
|
|
TH219 |
30 |
|
|
TH220 |
30 |
|
|
External option |
30 |
Third Year
Students are required to take modules totalling 120 CATS. From this year al single honours students are required to take EITHER a Research Topic OR a Practical Option and three further courses from the options list. Please note that options available may change from year to year (options shown are offered in 2011/12) and may include:
Optional Core List
|
TH303 |
30 |
|
|
Th306 |
30 |
Optional Modules
|
TH304 |
30 |
|
|
TH327 |
30 |
|
|
TH319 |
Interpreting the Theatrical Past: Approaches to Theatre Historiography |
30 |
|
TH313 |
30 |
|
|
TH321 |
30 |
|
|
TH326 |
30 |
|
|
External Option |
30 |
Examination Scheme
Modules given by the School of Theatre Studies are examined by a variety of methods, as indicated in the departmental list.
Examination Scheme
The weightings for each year are as follows:
[The figures relate to the % required to be examined, not the weighting given to each year which is (1st to 3rd) 0%/50%/50%]
First Year 0%
Second Year 35%
Third Year 35%
Choosing Modules (Options)
As shown on the course outline, there are presently three points in the degree programme where you can select which courses you wish to pursue. These are
1. In the Summer Term of the First Year - you select the modules for the duration of the Second Year and Aspects modules for the Autumn Term of the Second Year
2. In the Autumn Term of the Second Year - you select the Aspects modules you wish to take in the Spring Term of the Second Year
3. In the Summer Term of the Second Year - you select the modules for the duration of the Third Year
ALL SINGLE and JOINT honours students submit options via online Options forms. These go live approximately two weeks prior to choices having to be made and are accompanied by the relevant course outlines. All students will be notified by email when the online forms become available and a notice will also be posted on the homepage of the Theatre studies website.
ESSAYS
Ethics Review Form
Any student conducting reseach that involves live participants should complete an Ethics Review Form. In most instances this will primarily concern third year students undertaking a research topic but if in doubt, please follow the link to the form and discuss the matter with your Personal Tutor at the earliest opportunity.
Plagiarism
When you present the words or ideas of another as if they were your own you are plagiarising. Plagiarism is cheating. When you quote directly or summarise in your own words the ideas of someone else, you must acknowledge this. You do so by making a citation or reference within your text to your source materials.
What do I do if I’m writing about something that is common sense or I think everybody/my readers will know?
Statements of fact fall into this category and therefore may not need to be acknowledged, unless there is a controversy to report about the date or location of a particular occurrence in which case you are dealing with interpretations of fact or arguments which must always be acknowledged.
Remember the ‘GOLDEN RULE’ of Plagiarism: IF IN DOUBT, ERR ON THE SIDE OF CAUTION BY ACKNOWLEDGING THE SOURCE.
The writing of essays is an important part of the work of Theatre Studies students. It is one way, along with invigilated examinations and practical assessment, by which Theatre Studies tests its students. However it would be a very restricted view which conceived of the testing of students as the only or main purpose of writing essays. The essay provides a disciplined framework through which students can develop their critical faculties and can learn to marshal evidence to support an argument, and present new thoughts or points of view.
During your time in Theatre Studies you will be asked to write essays on a range of subjects. The nature of these subjects will develop over three years. You will be set essays which ask for your response to a play-text, or a performance, or some aspect of theatre history, theory or practice; you will also at times be asked to view the work of a given playwright or theatre practitioner within its social or historical context. In developing your own assessment of plays and productions, you will be expected to research the knowledge that exists and to grapple with the range of critical opinions that have been based on it. Opportunities will also be given for you to define the field of your enquiry, direct the process of your research and to present work that will contain your own original and advanced thought.
The writing of essays is a process of learning. At the outset you are bound to encounter some difficulties, since the essays required by Theatre Studies may be different from the pieces you have written in school. It is important that you discuss your essays with the module tutors and take notice of their comments. Personal tutors will also advise on how to develop this area of your work. Tutors are always ready to set additional non-assessed extra work for students who feel they need more practice, and will advise students who have problems with structure and expression. The content of an essay must find an articulate means of expression. Later on in this document you will find Criteria for Assessment of Essays, plus a guide to levels attained (Grade Descriptors) and a copy of the 17 point marking scheme.
The advance of scholarship is a continuous process which builds on research, ideas and insights from the past and provides material for future scholars. In your essays no one expects you to be definitive. Nor are you expected to be entirely original on subjects such as the Greek theatre, where you have no access to original source material. Much of your work, particularly at the outset, will therefore be derived from secondary sources, i.e. what other people have previously said on the subject. This is a process which is a common part of the work of the greenest novice and the most eminent authority.
In all cases, however, the use of sources must be acknowledged. General reading must be listed at the end of an essay in a BIBLIOGRAPHY. This is an alphabetical list, by author, of everything you have consulted in the course of your preparation. When you list your reading in this way, you have the benefit of demonstrating the range and quality of the work you have done and your tutors will be able to gauge the range of sources you have used, whether you are using them well, and to what extent you are thinking originally. It also serves as a basis on which your tutors can advise on further reading and help you extend the scope of your studies.
Where you have a specific debt to a piece of work, you must acknowledge this either in your main text, or in a footnote/endnote. It is a matter of critical honesty that you acknowledge the source of your information or ideas and this should be done fully so that your tutor can check back on your quotations and citations in their original context.
The proper acknowledgement of sources is particularly important in the case of work submitted for assessment. It is a normal feature of scholarship to utilise the ideas and thoughts of others in your work but it is dishonest to present ideas and thoughts as your own when they are not. It is important that you do not transpose quotations from sources into your own words without acknowledgement and it is insufficient to list those sources in your bibliography. You must never copy out sections of other people's work and insert them into your essay without marking your debt in quotation marks and providing a full reference.
The University requires us to bring to the notice of all students Regulation 12, which defines cheating in a University Test as 'an attempt to benefit one, or another, by deceit or fraud'. The University regards plagiarism, or the unacknowledged use of other people's ideas and material, as cheating. If a tutor detects plagiarism in an essay, he or she will report the matter to the Chair of Theatre Studies. The Chair may, after hearing the case, impose a penalty of a nil mark for the essay in question. This can have serious consequences for first-year results. In the case of second and third-year students, the matter may go to a Senate disciplinary committee, which has the power to award a mark of zero for the module in question.
Deliberate plagiarism is, thankfully, a rare event. But it is important that, when you make notes during your research and copy quotations out of books and journals, you record the source fully in your notes at that time. Many of us have lost the use of important pieces of material because we have failed to do this and could not remember later the source of the quotation. It is important that you do not leave essays to the last minute and run into the temptation of rehashing tracts of undigested secondary source material in the essay. The habit of making full and appropriate acknowledgement of all sources used and supplying full bibliographies should be instituted from your earliest work.
When you summarise, paraphrase or quote a source you must cite the original author.
Direct quotations or Embedded quotations
This is where you quote the phrase/passage in its entirety, acknowledging the source fully. An embedded quotation is where you use some of the author’s words, but place them in the context of your own sentence, splitting up the quotation as you do so. Quotations of a single line or part of a line can be ‘run-on’ in the main body of your text – separated with the use of single quotation marks.
Paraphrasing
Paraphrasing is a way of expressing another person’s ideas in your own words. It is more sophisticated than summarising because it involves an element of interpretation where you are the ‘ mediator’ between the original author and the reader. Paraphrasing is a really useful way of livening up your writing. Avoid mechanical word for word substitution or replicating exactly the sentence construction of the original author – you might as well quote directly if you are doing this. Make sure that somewhere you specify in your paraphrase where the idea has come from.
Summarising is to present a succinct version of the original source, restated in your own words where possible, which presents the author’s main idea or main argument only.
Grammar Advice
Grammar: Possessives, Plurals and Abbreviations: [---s], [---‘s], [---s’]
[---s] denotes plural.
e.g. Twelve texts.
[---‘s] and [---s’] denote possession or abbreviation
e.g. Sam’s text = possessive
Eurpides’ text = possessive of a word which already ends in s. (although some people prefer to add an extra s as well:Eurpides’s text)
The playwrights' plays = possessive of a word which already ends in s because it is a plural.
Sam’s cold = abbreviation of Sam is cold.
The possessive form of words ending in [-y] is usually [-y’s ]
The [-y] becomes [-ies] only in a plural form.
e.g. The city’s last hope= possessive
A tale of two cities= plural
Exception: [Its], [It’s], [their]
{Its]denotes possessive. NOTE: No apostrophe!
e.g. “The dog hung its head in shame.”
Abbreviation is regular.
e.g. It’s cold = abbreviation of It is cold.
The plural of [its], of course, is [their].
Grammar: To and Too
To is a preposition
I’m going to the library.
To is part of a verb in the infinitive:
I’m going to work hard this year.
Too is a comparative adjective/ adverb (depending on whether it qualifies an adjective or an adverb):
Comparative adjective: It is too cold to work.
Comparative adverb: It was too fast to see.
Grammar: Hyphenation of compound adjectives
Hyphenate compound adjectives. (A compound adjective is one which is composed of two words.)
e.g. In fifth-century Athens … (Hyphenated: ‘fifth-century’ is a compound adjective describing the noun ‘Athens.’) In the fifth century, Athens … (Un-hyphenated ‘fifth’ is an adjective describing the noun ‘century.’)
Grammar: Effect/Affect
Note that in most cases ‘effect’ is a noun and ‘ affect’ is a verb. (Although ‘effect’ does occur as a verb in a certain less usual use: e.g. to effect a change = to cause a change to happen.)
Punctuation and Layout
Punctuation and layout are important bearers of meaning. They not only enable effective communication, they also indicate to the reader a structure of thought. This structure is itself part of the meaning of a text and is therefore a crucial element of the reader’s ability to understand the text. It is important, therefore, to use commas, paragraph divisions etc. very precisely in order to indicate sub-clauses and conceptual units respectively. Above all, you should always meticulously proof-read your final draft with a view to ensuring that the way in which you have structured your work on the page does accurately reflect what you are trying to communicate to the reader.
Citations - MLA
The School of Theatre and Performance has adopted the guidelines of the Modern Language Association (MLA) for use by students in all formal writing assignments submitted in support of their course. This includes all undergraduate and MAIPR essays, projects, and dissertations. In short all formal assignments should be submitted in this format. Note: Students enrolling from 2011-2012 shall follow MLA while students registered prior to autumn 2011 may elect to use the previous system (MHRA).
The MLA publishes two authoritative explanations of MLA style: the MLA Handbook for Writers of Research Papers, 7th edition, and the MLA Style Manual and Guide to Scholarly Publishing. We are using the Handbook which has been developed especially for students, and recommend buying your own paperback copy of this book, available in the campus bookstore as well as on line. When you buy a copy of the seventh edition, you also get access to the website on line that supports the handbook.
How important is it to follow this (or any system) and why?
It is considered very important by your teachers and will affect your final marks if not employed carefully in your work. The reason is that citation and documentation is the major way we show our sources, give credit to other researchers, and set up a way for others to follow up on our work. The MLA Handbook points out: ‘Everytime you write a research paper, you enter into a community of writers and scholars’. That means you write not only to show your own scholarship but for other readers who may want to follow up on your research. In addition, it is a matter of critical honesty that you acknowledge the source of your information or ideas. Think about it in three ways:
- You are helping a hypothetical reader find/verify your work (your tutor in the first instance)
- You are crediting some other scholar or person who deserves it.
- You are using a kind of system or code that will consistently present your information.
Getting Started:
The advice given here is a supplement to the MLA Handbook. It highlights and clarifies some matters of direct concern to theatre and performance scholars. It is not exhaustive, and you should consult the Handbook frequently to make sure you are using the correct form. It is now in its seventh edition, and you should be careful to work only with this edition as changes are made every time a new edition appears (for instance, a new easier way of citing on line sources in put forward only in the seventh edition). The Handbook uses a decimal system to provide a really extensive Table of Contents and easier way to find topics. We will refer to that system in parentheses throughout this document where appropriate and urge you to familiarize yourself with this way of consulting the Handbook (5.6 for example is on ‘Citing Web Publications’)
Some of the guidelines here are specific to the School of Theatre and Performance, and may differ in some regards from the Handbook. When in doubt, this Guide trumps the Handbook. For example, the MLA Handbook is written from a North American perspective, and so it uses double quotation marks and punctuation within the mark: “It uses double quotation marks and punctuation within the mark.” Most British publications, however, use single quotation marks with the final punctuation outside the marks: ‘Most British publications use single quotation marks’. Our students must use the British system. In all other matters concerning quotations, see the MLA Handbook 3.7. Also, students must include the full URL when citing from the web (see examples below).
Formatting the paper:
Type and print your work on one side of standard A4 paper (4.1 mentions 8 ½ x 11 inch paper, standard in North America).
- Double space throughout—text, quotations, notes, Works Cited—everything.
- Choose Times New Roman or Arial font—12 point to aid easy reading.
- Use one-inch (2.54cm) margins and set up a header with page numbers in the upper right-hand corner and your ID number in the left-hand corner
- Your first page of the essay should include the title of your module and the name of your module tutor and then the date with a title centred as shown in the example below:
Compare this to the instruction at 4.3 in the MLA Handbook: the difference is the anonymity of the Warwick system vs the use of your name in the MLA system.
Making reference to works of others in your text:
In MLA style, referring to the works of others in your text is done in two ways. When you make reference to someone else's idea, either through paraphrasing or quoting them directly, you:
1. Provide the author's name and the page number of the work in a parenthetical citation
2. Provide full citation information for the work in your Works Cited list.
This allows people to know which sources you used in writing your essay and then be able to look them up themselves, so that they can use them in their scholarly work. Works Cited means just that: those works you have cited in your text; Bibliography is a more inclusive term which means all the books you consulted in researching and writing your paper—it may include some sources you do not cite. Most often, Bibliographies accompany dissertations or longer works while Works Cited is the preferred format for essays. You can ask your tutor to be sure for any given assignment.
Quotations may be embedded within your work but if they extend to more than four lines, they should be set off from the text by beginning a new line, indenting one inch(2.54cm) from the left margin, and typing it double-spaced, without adding quotation marks. In such cases, a colon usually introduces the quotation. See 3.7.2
Here are some basic guidelines for referring to the works of others in your text.
Parenthetical Citations:
MLA format follows the author-page method of citation. This means that the author's last name and the page number(s) from which the quotation is taken must appear in the text, and a complete reference should appear in your Works Cited list—rather than preparing separate endnotes or footnotes for each reference. This will save you time once you get the knack of it. The author's name may appear either in the sentence itself or in parentheses following the quotation or paraphrase, but the page number(s) should always appear in the parentheses, not in the text of your sentence.
For example:
1. Wordsworth stated that Romantic poetry was marked by a ‘spontaneous overflow of powerful feelings’ (263).
2. Romantic poetry is characterized by the ‘spontaneous overflow of powerful feelings’ (Wordsworth 263).
3. Wordsworth extensively explored the role of emotion in the creative process (263).
All three of these versions are correct (see Chapter Six and in particular 6.3 and 6.4).
If the work you are making reference to has no author, use an abbreviated version of the work's title. For non-print sources, such as films, TV series, pictures, or other media, or electronic sources, include the name that begins the entry in the Works Cited page.
(See 6.4.4)
Sometimes you may have to use an indirect quotation. An indirect quotation is a quotation that you found in another source that was quoting from the original. For such indirect quotations, use ‘qtd. in’ to indicate the source. Use of this indirection should be kept to a minimum—you should obtain and cite from the original whenever possible.
For example:
The aim, says von Wely, is to ‘create ambiguous, hermetic images which you can hang meaning on’ (qtd. in Mason 84).
For further ideas about how to set up and use parenthetical citations smoothly, see the suggestions for readability at 6.3.
Quoting from Plays or other Dialogue-based Texts:
MLA specifies how you should quote dialogue from two or more characters and also shows you how to use page numbers for modern texts and Act/Scene/Line references for Shakespeare. See 3.7.4. The format in both cases is to set off the text by indenting, and also to write the character name in capital letters.
For example:
Preparing the Works Cited List
The works cited list should appear at the end of your essay. It provides the information necessary for a reader to locate and be able to read any sources you cite in the essay. Each source you cite in the body must appear in your works-cited list; likewise, each entry in the works-cited list must be cited in your text. Preparing your works cited list using MLA style is covered in detail in Chapter Five of the Handbook. Here are some guidelines for preparing works cited for theatre and performance work.
- Titles of full-length plays, books, and journals are written in Italics. So, too, are film titles, operas, or television shows, and major titled works of visual art. However, one-act plays are done in quotation marks, as are short stories and episodes of television shows. See 5.7 for specific guidance on most of these.
- Besides books, you will be citing scholarly journals, magazines, and newspapers frequently. They are each a separate category and must be treated differently. Once you are clear about how to cite them, it is quite simple. Journals usually come out three or four times a year while magazines may be weekly publications. Some journals divide their issues into volumes and may or may not assign each a number. Magazines and newspapers usually are cited by their date of issue; newspapers sometimes also need additional information such as section. All of these need page references. However, when you cite from web sources, the methods of citation change slightly. See examples below, and consult 5.4 for details on each of these types of publication. See 5.6 for citing web publications or materials accessed online.
- There is a principle guiding the citations—you want to give credit to those who deserve it and specific location information for anyone trying to find the source. This explains, for example, why you must give both a translator’s name and an author’s name in translated work; it explains why you must cite not only an author of an essay but when it is part of a collection, the editor(s) of the full volume and publication information. A frequent oversight of students is to miss this crediting—especially with a translation.
- Note that each piece of documentation is labelled ‘Print’ or ‘Web’ and that for all web-based citations, you must also include the URL and your access date. (Note: This is one of the differences from the MLA style—we ask for the URLs while MLA does not)
Most Common Types of Citation and MLA Handbook location for help:
You will find there are certain kinds of citations you use a lot, and others only occasionally. Theatre and performance scholars cite reviews and interviews, theatre websites, and scripts very often in addition to books, journal articles, and magazines. Many sources come from newspaper articles; many newspapers are now accessed primarily on line. Below you will find a list of the most common types of citations you will need, with the reference to the MLA Handbook in bold face, and this will be followed by examples of these types of citations. Last, you will find a Works Cited list made up from these works.
Commonly Needed Forms:
- Books with one author 5.5.2
- Books with two or more authors 5.54
- Books in translation 5.5.11
- A Work in an Anthology 5.5.6
- A Book Published in second or subsequent editions 5.5.13
- Article in a scholarly journal 5.4.2
- Article in a journal with only issue numbers 5.4.3
- Newspaper articles (print) 5.4.5
- Magazine articles 5.4.5
- Web-based documentation (general rules) 5.6.1
- Article published only on the web 5.6.2 and 5.6.3
- Journal article or other work from data bases 5.6.4
- Video clip from the web (e.g., U-tube) 5.6.2.d
- Performance 5.7.4
- Film or Video Recording 5.7.3
Sample of These Citations
Book with one author:
Jackson, Shannon. Social Works: Performing Art, Supporting Publics. New York: Routledge, 2011. Print.
Book with two or more authors:
Sanders, Marlene and Marcia Rock. Waiting for Prime Time: The Women of Television News. Urbana: U of Illinois P, 1994. Print.
Book in Translation:
Lehmann, Hans-Thies. Postdramatic Theatre. Trans. Karen Jűrs-Munby. London: Routledge, 2006. Print.
Work in an Anthology:
Varney, Denise. ‘Perfect Unhappiness: Globalization in the Suburbs’. The Local Meets the Global in Performance. Ed. Pirkko Koski and Melissa Sihra. Newcastle upon
Tyne: Cambridge Scholars Publishing, 2010. Print.
Book published in Second Edition:
Carlson, Marvin. Performance: A Critical Introduction. 2nd ed. New York: Routledge, 2004. Print.
Article in a Scholarly Journal:
Rae, Paul. ‘Freedom of Repression’. Theatre Research International 36.2 (2011): 117-33. Print.
Article in Journal with only Issue Numbers:
Kirkwood, Carla. ‘Chinese Performance Artists: Redrawing the Map of Chinese Culture’ TheatreForum 25 (2004): 16-26. Print.
Newpaper Article:
Nightingale, Benedict. ‘Useful Lessons in fair play’. The Times 6 January 1955: 31. Print.
Magazine Article:
Firestone, Lonnie. ‘Not Just About Nightingales’. American Theater Sept. 2011: 10-15. Print.
Journal Article accessed from data base:
Dean, Jodi. ‘Cybersalons and Civil Society: Rethinking the Public Sphere in Transnational Technoculture’. Public Culture 13.2 (2001): 243–265. Project Muse. Web. http://0use.jhu.edu.pugwash.lib.warwick.ac.uk/journals/public_culture/v013/13.2dean.pdf 30 June 2011.
Clip from the Web (YouTube):
Let Me Down Easy. Written and performed by Anna Deavere Smith. Dir. Leonard Foglia. 2010. YouTube.com. Web. http://www.youtube.com/watch?v=G0SegzYAyy0 30 September 2011.
Works Cited
Below is a screengrab of a page showing Works Cited drawn from some of the above references. Things to note:
- Items are not numbered but alphabetised by the first word in each entry (usually the author's last name).
- Works Cited begins on a separate page and also includes your ID and page number in the header
- The title Works Cited is at the top of the page in bold and centered
- The first line of each entry in your list is flush left with the margin. Subsequent lines in each entry should be indented 1/2 inch (1.27cm) - this is known as a hanging indent.
Conclusion - Crucial points
What is crucial is that you present your argument – and document it – in a way that will give readers confidence. [If you cannot do this work accurately, then it is unlikely that your readers will have confidence in the accuracy of your arguments and the clarity of your thinking/analysis.] The above information is intended as a selective guide to the appropriate presentation for assessed work. It is not fully comprehensive – but it does highlight some errors that have, over many years, undermined the credibility and accuracy of students’ assessed work. If you would not find it easy to read and fully understand your own work, then you need to look again at these basic guidelines – and at the fully articulated guidelines in the MLA Handbook. Once you have mastered the basic rules of style and referencing you will find that the presentation of your assessed work does justice to the individuality and subtlety of your arguments.
Check your spelling.
Do not change tense mid-sentence.
Above all: say what you want to say as clearly and concisely as possible.
Deadlines / Handing in work
Theatre Studies uses a number of assessment methods. For non-practical work the material will either be submitted using esubmission (see below) with a second copy submitted with a cover sheet to the Department Secretary before the deadline or submitted by hand only . For a list of deadlines and handing-in methods please refer to the Assignment Deadlines page
All essays should be handed in with an Assessed Work Cover Sheet. You will find this on the department intranet or can right-click here to download the Word document, copies are available from Cate and one is included as a screengrab below to illustrate what this looks like:
We employ anonymous marking for all written work which requires that your essay should include your student number but not your name. All essays must be submitted to the Theatre Studies Secretary, who will record the submission. Students should submit one copy electronically where esubmission is required and/or a printed copy with the coversheet. Students who wish to apply for an extension, on medical or compassionate grounds, must first fill in an essay extension request form (available from Kate Brennan and see below on applying for an extension) which will be considered by the Chair of Theatre Studies. The non-submission of an assessed essay will mean that a student has failed to complete the requirements of a module and may, therefore, not be permitted to proceed into the next year of study without further examination.
Many course assignments are now submitted electronically. You will find links to the esubmission forms on the Theatre Studies website (one form per year). The rubric for using the form is reproduced below:
- Select from the module list
- The continue button will take you to the second part of the e-submission form
- Note your University ID number will be displayed
- You can only submit word documents - please save Word 2007 docx files as .doc files
- Submit your file using the attach button.
- Your attachment will be automatically prefixed by the system with your student number and course code
- After completing the form you will be offered a receipt via the email system, attach this receipt to the hard copy.
- Students should hand in a paper copy of their assessed work to Cate Brennan G29 Milburn House.
- Assignments may be put through the 'Jisc Source matching service' upon receipt.
- All essays need to be submitted before 4pm on the hand-in date.
Essay Extension Request Procedure
We now operate an online essay extension request procedure. Links are provided below to 1st, 2nd and 3rd year versions of this form (and you will find them as a link on the esubmission pages). By moving this procedure online we aim to not only speed-up the decision-making process but also to ensure that personal tutors are kept informed of any extension requests, particularly in those instances when joint or external students request an extension. A screengrab of the form is reproduced below. To access the form please choose
First Year, Second Year or Third Year
forms:
Penalty for late work
When an essay or piece of coursework is handed in late without prior permission or where no formal extension has been granted the piece of work will receive a deduction of 5% from the mark awarded for every day that the work is late, including Bank Holidays and weekends.
Marking Scheme – 17 Point Scale
|
Class |
Marking scale |
% |
descriptor |
Out of 17 |
|
Exceptional command of the subject, including material which ranges well beyond that covered in lectures/classes. Work of exceptional insight, bringing new perspectives to bear on the material, or developing new knowledge or techniques. Achieves or is close to publishable standard. |
17 |
|||
|
Excellent |
96 |
|||
|
1st |
||||
|
Very high quality work, with full understanding of |
16 |
|||
|
First |
High 1st |
89 |
the subject matter. |
|
|
Work that demonstrates intellectual maturity, |
||||
|
and is perceptive with highly developed |
15 |
|||
|
Mid 1st |
81 |
organisation. |
||
|
An ambitious project carried out successfully, |
||||
|
with sophisticated handling of primary and |
14 |
|||
|
secondary material, reasoned, analytic |
||||
|
Low 1st |
74 |
argument. |
||
|
Some degree of originality, independent |
||||
|
research and thought. |
||||
|
High 2.1 |
68 |
Highly competent in organisation and |
13 |
|
|
presentation, evidence of individual research; |
||||
|
Upper |
12 |
|||
|
Second |
Mid 2.1 |
65 |
appropriate and intelligent use of primary and |
|
|
secondary material, good understanding of |
||||
|
Low 2.1 |
62 |
subject matter allied with perceptive analysis. |
11 |
|
|
High 2.2 |
58 |
Conscientious work, attentive to subject matter |
10 |
|
|
and title/task set; a focused response to the task |
||||
|
Lower |
Mid 2.2 |
55 |
demonstrating good knowledge, balanced more |
9 |
|
Second |
towards the descriptive than the analytical. |
|||
|
Good knowledge, reasonable understanding of |
8 |
|||
|
Low 2.2 |
52 |
material and task. Descriptive rather than |
||
|
analytical. |
||||
|
High 3rd |
48 |
Some relevant knowledge, some accurate |
7 |
|
|
Third |
Mid 3rd |
45 |
repetition of lecture/class notes/work. Partial or |
6 |
|
Low 3rd |
42 |
pedestrian description. |
5 |
|
|
Work does not meet standards required for the |
4 |
|||
|
High Fail |
appropriate stage of an Honours degree, albeit |
|||
|
(near miss) |
38 |
with some basic understanding of relevant |
||
|
concepts an techniques. |
||||
|
Fail |
Ineptitude in knowledge, structure, |
3 |
||
|
Fail |
25 |
academic/professional practice |
||
|
Failure or inability to answer the |
||||
|
question/respond to the task. |
2 |
|||
|
Low Fail |
12 |
No evidence of basic understanding of relevant |
||
|
concepts/techniques |
||||
|
Work of no merit |
1 |
|||
|
Zero |
Zero |
0 |
OR Absent, work not submitted, penalty in some misconduct cases |
Feedback – Response Times and Method
We aim to return all work within four weeks of the deadline for submission. If work is handed in after the deadline we cannot guarantee that a four week turnaround will be adhered to. The exception to the four week period is in those circumstances where two or more marks are provided at the same time, as with the grades for practical examinations that have a critical review component.
Assessed work will normally be handed back by the module tutor, will be available for collection from Cate Brennan or will be available for collection in sealed envelopes from the Theatre Studies foyer
PRACTICE
Assessment Criteria
Practice is assessed in an evaluation of processes and projects. The underlying principle, as with all assessment of theatre and performance practice within the school, is that youareassessed on the demonstration of your understanding through practice. Key criteria of assessment are:
- Good practice. Your response to the basic principles and demands of project-based, group work: attendance, punctuality, commitment and willingness to share responsibility with other members of the group.
- The initiation, negotiation and realisation of ideas in a collaborative group process. In this context there may also be an assessment of the execution of specific responsibilities allocated by the tutor or agreed between the tutor and the group.
- Your demonstration, through your practice, of an understanding of the specific concepts, issues and/or practices towards which the module directs and focuses your attention.
Practical Grade Descriptors
Whilst practical work takes many forms its general grading subscribes to the following criteria. These are divided into two basic categories whose functioning interlocks in practice.
1. Initiation, negotiation and realisation of performance material
Practice will be evaluated on the basis of:
- the understanding shown of performance convention and form
- the appropriate and imaginative use of performance techniques as a means by which to explore source material
- the ability to select and synthesise material arising out of a practical working process
- the ability to select appropriate means of communicating performance material to specified audiences
- the ability to produce a performance ‘text’ suitable for its context
- evidence of an engagement with relevant theoretical concepts and issues
2. Engagement with process and performance
Participants in practical work will be assessed on the basis of:
- individual initiative and contribution within a group process
- commitment to the development and articulation of ideas offered by other group members
- the ability, within a group situation, to offer and respond to constructive criticism and analysis of the work in progress
- the ability to contribute to the development of the overall discipline of the work, in particular to allocate appropriate time and resources
- the ability to review practice critically and to provide appropriate documentation where required
Classification of practice is premised on the greater or lesser qualitative fulfilment of the listed criteria. Individual modules (or, indeed, practical tasks set within modules) may also have their own specific criteria, to which participants will be alerted by tutors as required. The grade descriptors should be read, then, as variables of the criteria outlined.
96 (excellent 1st)
Exceptional command of subject-matter, concepts and techniques, including material which ranges well beyond that covered in practical sessions. Work of exceptional insight, bringing new perspectives to bear on the material in question, or developing new knowledge or techniques. A very high level of achievement commensurate with the given practical brief will be evident. The work will also reveal a highly effective interaction of practice and theory.
74, 81, 89 (low, mid, high 1st)
Very high quality work, with full understanding of subject-matter, concepts and techniques. Work that demonstrates high practical intelligence and maturity, and is perceptive with highly developed organisation. An ambitious project carried out successfully, with sophisticated handling of primary and secondary material. Some degree of originality, independent research, thought and practical ability.
62, 65, 68 (low, mid, high 2.1)
Highly competent in organisation and presentation, evidence of originality and independence of thought and practice may be in evidence, as well as a sound interaction of theory and practice. Appropriate and intelligent practical use of primary and secondary material, good understanding of subject-matter allied with perceptive practical analysis and highly adept application of concepts and techniques.
52, 55, 58 (low, mid, high 2.2)
Conscientious work, attentive to subject-matter and practical tasks set; a focused response to tasks, demonstrating good levels of knowledge, balanced more towards the application of predictable rather than innovative and practically astute concepts and techniques. Some indication of theory and practice interacting successfully will be evident.
42, 45, 48 (low, mid, high 3rd)
Some relevant knowledge, some accurate re-presentation of work undertaken in practical classes. Competence in the fulfilment of key criteria will reveal significant inadequacies. Understanding of the practical brief is likely to be misconceived in some way, leading to an unsatisfactory outcome. Levels of engagement and commitment to the work will be low.
38 (high fail)
Work does not meet standards required for the appropriate stage of an honours degree, albeit with some basic understanding of relevant concepts and techniques.
12, 25 (fail, low fail)
The work fails to address and fulfil the criteria outlined. Little or no sign of understanding, engagement or commitment to the task in hand. Ineptitude in knowledge, structure, academic/professional practice. No evidence of basic understanding of relevant concepts and techniques.
0 (zero)
Work of no merit. OR Absent, work not submitted, penalty in some misconduct cases.
Practice Outside the School
The School takes a positive view of student involvement in student productions although you must be realistic about your time commitment to them. Students are expected to attend all classes and required theatre visits regardless of rehearsals for student productions and, by binding agreement with the Student Union, no student production rehearsal work can be scheduled at a time which conflicts with the normal class hours, (Monday to Friday), or with required theatre visits. Please make sure when you agree to take part in a student production that your time commitment to student productions does not mean you are missing lectures/seminars/practical sessions/theatre visits.
Other Information
Computing and Word Processing
You will receive an IT Handbook from Computer Services. In addition, short courses on Word Processing are arranged by Computing Services: details are publicised on notice boards. Short courses on Computer Programming are available from the Department of Computer Sciences: those interested should apply to that Department for details. Consult your IT handbooks for full details of login codes etc.
Open Courses
Certain facilities and courses are available to all students in all years as optional extras, which do not count towards their normal course requirements. They include the following:
Open Studies Classes
The University offers evening classes on a wide variety of topics. Those interested should ask the Theatre Studies Secretary for the appropriate booklet.
Language Classes
The Language Centre puts on evening classes (one night a week for two terms) in a range of languages, usually Beginners' French, German, Spanish, Italian, Modern Greek and Russian, and Intermediate French and German. There are also facilities for private study in several further languages. In addition, there is sophisticated listening equipment available, as well as the University's collection of music records and certain music tapes for use within the Language Centre. Those interested should ask the Theatre Studies Secretary for the Language Centre information sheet.
Additional Lectures
A number of Open Lectures are given in the course of the year and new Professors give Inaugural Lectures in various fields. Departments offer a series of lectures by visiting specialists during the year. These are announced on posters displayed in the Humanities Building.
Bookshop
The University Bookshop holds a large stock of course books, which have been recommended by tutors. However, it is always wise to consult with tutors before purchasing specific books or play texts.
Warwick Arts Centre
The University's Arts Centre is a vital resource for students in Theatre Studies. In addition to any required theatre visits, students should make regular use of the Arts Centre to view and assess contrasting approaches to performance.
Link: http://www.warwickartscentre.co.uk/
ENDS
BASICS
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THE DEGREE COURSE
Attendance and Monitoring
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Choosing Modules (Options)
ESSAYS
- Research ethics
- Plagiarism
- Grammar Advice
- Citations - MLA
- Deadlines
- Esubmission
- Essay Extensions
- Penalties for Late Work
- 17 point scale
- Feedback
PRACTICE
- Assessment Criteria
- Grade Descriptors
- Practice outside the School
Other academic information
