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3rd Year Outlines 2015-6

30 CAT Modules

Independent Research Option - IRO (Single Honours core)
(Please refer to separate page here)

Theatre & Ideology: Exilic Perspectives - Convenor Silvija Jestrovic Monday 1400-1600 G56
This module aims to investigate the relationship between theatre and exile through the contemporary experience of displacement, exile and mass migration and as channeled through means of intertextuality, parody, happening, and multicultural performance. It will consider:
• Ways in which different kinds of exilic experience are channeled through theatre, drama, performance and : from the state of dislocation preceded by war or political oppression to the sense of marginalization within once own culture; from enforced to self-imposed exile; from exile as an existential necessity to exile as a moral choice or political statement.
• Theatrical and performance strategies as means of transcending the experience of exile, of turning trauma into a creative force and turning the no man’s land between languages and cultures into a fruitful soil.
• Dramatic and theatrical strategies as means of deconstructing cultural stereotypes, fracturing conventional definitions of borders and national cultures.
• Issues of language, space and identity in exilic theater.
• The exilic consciousness and perspective as a worldview, a way of comprehending reality and a mode of artistic thinking. Students will be introduced to a variety of dramatic, theatrical and film works, as well as to performance art that could be described as exilic. The module will also offer an interdisciplinery theoretical framework to analyze exilic theater.
10 % Workshop/ Presentation
20% Essay (3000 words)
20% Critical response
50% Performance Exam (Final Project)

Intercultural Performance Practices - Convenor Yvette Hutchison Friday 1330-1530 G55
This module sets out to look at the implications of contemporary intercultural performance practice in the context of globalisation in terms of form, focus, ideological and ethical implications. In seminars that include practical elements, we will explore issues that arise in contemporary intercultural performance interactions in examples like the work of Brook, Mnouchkine, Japanese Takarazuka, Disney, contemporary Australian musicals, and African exhibitions. We will critically analyse cultural difference, the possible processes of mediation necessary in such work; the difference between inter- and multiculturalism, the impact of cultural imperialism and globalisation on performance production, and the aesthetic and ethical issues of this work.
30% - Essay (3000 words)
50% - Examined Seminar Presentation
20% - Critical Review

Interpreting the Theatrical Past: Approaches to Theatre Historiography - Convenor Jim Davis Wednesday 1100-1300 G52
historiography

In recent years there has been a growing interest in the ways in which we study theatre history. Why do we privilege some periods over others? Why are some aspects of theatre history neglected by scholars? What are the assumptions behind our interpretation of documentary evidence? What choices do we make about the theoretical models we use? How did theatre history emerge as an academic discipline? What sorts of narrative inform our study of theatre history? What factors determine the ways in which we write about theatre history? This module aims to investigate the ways in which the historical study of acting, audiences, theatres and performance are heavily influenced by the assumptions, prejudices and ideological beliefs of those who have written about it. A strong emphasis will be placed on the close reading of set texts and on innovative project work applying historiographical methods and methodologies.
ASSESSMENT
• Portfolio (750 words) based on Weeks 2 – 4 (Term 1) 10%
• Portfolio (1000 words) based on Weeks 1 - 4 (Term 2) 10% (These should consist of a short summary of the work you prepared for discussion in the seminars for the weeks specified)
• Research Project: Local Theatre Histories 30% (This may take the form of a booklet, a website, a report, an illustrated brochure a teaching aid or an essay, for example. Due beginning of Spring term)
• Examination: Group Project Presentations 50% (Summer Term) (You may take any aspect of theatre history that interests you and prepare a presentation on it, demonstrating also a grasp of historiographic principles and methods. This might be an exhibition, a performance or a performance lecture, for example. Groups should be @2-4 and each group will be assigned @30 minutes for their presentation. A critical review of 2,500 words, in which you analyse the processes, methodologies and research leading up to your presentations and provide documents, pictures etc in support of your work, plus some discussion of the impact made by your presentation, will be required two weeks after the presentations. )


Food and Performance - Convenor Tim White Tuesday 1330-1530 G56
From necessity to pleasure, from subsistence to security, food is a constant in our lives, commandeering significant portions of our waking lives – gathering, preparing, ingesting, digesting, excreting - and annexing one-third of the planet’s land not covered in ice. We define ourselves by the food we eat, both physically (as Morgan Spurlock, Eleanor Antin and others attest) and culturally.

Commensality – the fellowship of the table – shares with performance the coming together of individuals to form a temporary group that consume and then depart. The negotiated status of performer and audience finds resonance with that between hosts and guests and an opportunity to reaffirm or challenge the rituals and etiquette by which they operate.

The tensions between creativity and domesticity, between adulation and exploitation are explored in relation to performances that acknowledge the breadth of circumstances in which we engage with food, culminating in an extended consideration of the theatricality of dining. Alongside reflection on the social and aesthetic aspects of food, the ethical and ecological cost of feeding and feasting is explored.
30% Portfolio (4 x 750 words)
35% Assessed Seminar Presentation
35% Practical exam


Performing Gender and Sexuality - Convenor Wallace McDowell Tuesday 1000-1300 G56
The module analyses ways in which performance engages with, reveals, challenges, deconstructs and resists dominant norms of gender and sexuality. A key focus will be on how performances rreflect and contribute to shifts in circulating discourses of power. Starting with the traditionally 'umarked' dominance of white heterosexual men, students will engage with a wide range of plays, practitioners amd performance artists in order to interrogate notions of the 'other' as performances of gender and sexual identities. The module will look at theoretical framework of gender and sexuality, at the same time exploring the intersections with other elements of performance of identity such as social class and ethnicity.

This module will engage with a number of examples from a range of performance practices to examine the roles that such performances have played in contribution to debates and discourses around gender and sexuality. Examples will be drawn from performance art, performance poetry, plays, radio drama and stand-up comedy to allow the students to engage in analytical debate. Each weekly two-hour seminar will focus on a particular example of performance and explore its own particular contribution to gender and sexuality discourses. In each case the performance material will be framed by sets of weekly theoretical, cultural and historical readings in order to properly contextualise the work.

Plays looked at may include: Glengarry Glen Ross (Mamet); Frozen (Lavery); Far Away (Churchill); Black Watch (Burke); Duck (Feehily); The History Boys (Bennett); Belle Reprieve (Bourne, Shaw, Shaw, Weaver); Airsick (Frost)Phaedra's Love (Kane); Behzti, (Bhatti). Other performers and performances examined at may include Franko B, Ron Athey, Orlan, Marina Abramovic, DV8's Enter Achilles, Mickey B, material from the Theatre of Witness Programme, and Paris is Burning. Other documentary material will include Invisible Women and Miss Representation, both about gender imbalance in the media.
20% Portfolio (2 x 1000 words)
30% Essay (3000 words)
50% Project-based assessment


Theatre and National Identity - Convenor Nadine Holdsworth 1100-1300 G56
This module’s overarching question is how English, Scottish, Welsh and Northern Irish theatre institutions, playwrights, theatre-makers and performance artists have engaged with conceptions of the nation, nationalism and national identity during the twentieth and into the twenty-first centuries. The module will explore how theatre has contributed to the construction and reappraisal of the nation and national identities through the sites it occupies, the stories it tells and the representations it offers. In particular, this module will explore the fact that ideas of the nation are constantly in flux, subject to the play of history and politics, and that the way theatre engages with the nation changes according to different geographical, political, economic, social and cultural circumstances. The module will begin by introducing key theories on the nation and national identity before looking at plays and performances hailed as seminal ‘state of the nation’ works or celebrated as offering a distinct national identity by reclaiming histories, local dialects and indigenous cultural traditions. This will be followed by a consideration of plays and performances that renegotiate concepts of nation in various ways. In the late twentieth and early twenty-first centuries, there is increasing evidence of theatre and performance challenging the very idea of the homogenous nation state by asking important questions such as: who is being excluded, in class, race, gender and regional terms, from the depictions of national identity offered? How can work that explores concepts of national identity also be alert to the importance of difference and plurality? How can we theatricalize the nation in an age of globalization, mass migration and mediatisation? The module will consider these questions in relation to a range of performance forms: plays, devised works, site-specific performance, live art and performance installations.

Playwrights, companies and performance practitioners discussed may include: Tinderbox, Brith Gof, John Osborne, John McGrath, Roy Williams, Dylan Thomas, NTS, Ena Lamont Stewart, Robert McLeish, Gary Owen, Mike Pearson, Richard Bean, Sue Glover, NTW, Liz Lochhead, Ed Thomas, Stephen Greenhorn, David Greig and Volcano Theatre Company.
20% Essay (2000 words)
20% Written Portfolio (2000 words)
60% Project-based Assessment (6000 word or equivalent)

You, Me and Everyone We Know: Identity and Performance - Convenor Anna Harpin Monday 1030-1330 G55
This module combines seminars and practical exploration to investigate the representation of self and others in performance. The module can be taken as 15 or 30 CATS. In the Autumn Term we will explore, through discussion and practical workshops, a range of artistic practices from biographical drama to stand up comedy to verbatim theatre. The aim of this half of the module is to consider questions of identity and performance. How far is identity a performative construction? How have artists represented their own lives and the lives of others and what are the ethical issues that attend on such practices? How do different forms invite different ways of framing and viewing selfhood and identity? The Spring Term (only available to 30 CAT students) will be studio-based work that explores a range of issues such as how to work with audiences or the creation of personas. The workshops will continue our explorations of concepts such as truth and authenticity but in a different mode of thinking. You will then work towards a practical project (solo or group).
50% Essay
50% Practical Project


Marketing - Convenor - Caroline Griffin - Wednesday 1100-1300 G55
This module will provide an overview of the theory and practice of strategic marketing and audience development for theatre, with a special emphasis on practical application. Over the course of module we will look at general marketing theory, the special challenges of marketing creative products and the use of market intelligence and data. We will also look at different organisational approaches to being audience focused, and associated implications for programming, resource management, internal communications and organisational structures. Other specific areas to be covered will include marketing events on tour, festival marketing, using social media and audience research.
The taught section of the module focuses on general marketing theory as it applies to arts organisations, specifically theatres and theatre companies. We will start by looking at the role of marketing in arts organisations, moving on to marketing as a strategic management tool. Later we will move onto the tactical marketing tools in common use in arts organisations, including social media. At the end of the course we will cover the role of the marketer and how contracting effects marketing activity and planning. The last two taught sessions will include case studies and sample marketing plans (both strategic and campaign), in preparation for the project that students will undertake from February.

After the taught portion of the course, students will be required to work on a specific project within an existing arts organisation, using them as a case study for an audience-focused or marketing project. This will be assessed against specific criteria and will be shared with the organisation with a view to it being of practical use to them. A written assignment of the project will comprise 50% of the overall mark.
25% Essay (2500 words)
25% Seminar Presentation
50% Written Assignment 5000 words


15 CATS - AUTUMN

You, Me and Everyone We Know: Identity and Performance - Convenor Anna Harpin Monday 1030-1330 G55
This module combines seminars and practical exploration to investigate the representation of self and others in performance. The module can be taken as 15 or 30 CATS. In the Autumn Term we will explore, through discussion and practical workshops, a range of artistic practices from biographical drama to stand up comedy to verbatim theatre. The aim of this half of the module is to consider questions of identity and performance. How far is identity a performative construction? How have artists represented their own lives and the lives of others and what are the ethical issues that attend on such practices? How do different forms invite different ways of framing and viewing selfhood and identity? The Spring Term (only available to 30 CAT students) will be studio-based work that explores a range of issues such as how to work with audiences or the creation of personas. The workshops will continue our explorations of concepts such as truth and authenticity but in a different mode of thinking. You will then work towards a practical project (solo or group).
100% Essay

20th Century Irish Theatre - Convenor Wallace McDowell Thursday 1530-1730 G52
This module examines the following:
How ‘Irishness’ was depicted in a range of plays and performances in the 20th Century
• How the staging of Irish plays are affected by concepts such as landscape, memory, history and myth
• How the Irish theatre reflected the formation of an Irish nation and was used to both rehearse and critique Ireland after the English
• How Irish playwrights have used major historical events to reflect on contemporary events
• How Irish plays and performances have engaged with the wider international world
Beginning at the beginning of the 20th Century with the foundation of the Abbey Theatre, the module looks at how nationhood was rehearsed, imagined and critiqued through a range of plays by playwrights such as Yeats, Synge, O’Casey, Murphy, Friel, McGuiness, Carr, Reid and Mitchell. Working from Christopher Murray’s idea of Irish Theatre as being ‘mirror up to nation’ and Benedict Anderson’s concept of ‘Imagined Community’, the module traces the relationship between the Irish stage and the ever-changing Irish socio-political landscape.
40% Portfolio (2x1000 words)
60% Essay 3000 words


Post-war British Theatre and Social Abjection - Convenor Nadine Holdsworth Thursday 1000-1200 G56
This module will address the theatrical treatment of issues that have been at the heart of the British nation in the twenty-first century and subject to widespread public debate, media campaigns, political controversy and legislation: migration, Gypsies and Travellers, riots and the north/south divide. As such, the module will address many of the pressing issues that are informing contemporary political debate about how the nation, national life and national citizenship are currently conceived, imagined and represented – whether that be current debates on migration heightened by presence of UKIP; discussions on the ‘north/south divide’ activated by plans for HS2 and heightened regional powers; concerns about what the London riots of 2011 meant socially and politically; or the widespread debates around the presence of Gypsies and Travellers prompted by the scenes of mass eviction witnessed at Dale Farm in Essex in 2011. The module is concerned with questioning how and why playwrights, theatre-makers and performance companies have engaged with and responded to these issues as forms of political intervention and commentary. However, where appropriate, I am also keen to take a longer historical perspective in order to argue that many twenty-first century anxieties have their origins in an earlier post-war period and can be traced to legacies of empire, colonialism, post-war reconstruction and long-standing concerns with class, regionalism and race in Britain.

The module will highlight the ways in which theatrical practice has contributed to national debate by creating alternatives to dominant narratives and images of stigmatization evident in political campaigns, media discourse and popular debate. This approach functions in recognition of Jacques Rancière’s call to generate moments of dissensus in the perceptual and aesthetic field, ‘a fresh sphere of visibility’, which effectively serves to question the logics of othering, marginalization and social abjection. Hence, the module will explore how theatre and theatricality has played a part in reframing events through its storying of issues as a way to trouble reductive perceptual framing and to insert a counter-mediation in the public sphere. As such, the module will address a range of different theatrical contexts and forms from large-scale plays for major theatres, to smaller-scale community pieces that encompass various styles including musicals, dance theatre, verbatim and monologues.

Works to be studied include: John Arden’s Live Like Pigs (1958), Jez Butterworth’s Jerusalem (2011), Andrea Dunbar’s Rita, Sue and Bob too (1982), Jim Cartwright’s Road (1986), David Greig’s Glasgow Girls (2011), Trevor Griffith’s Oi for England (1982), Vivienne Franzmann’s Mogadishu (2008), Lee Hall’s The Pitmen Painters (2007), Bryony Lavery’s Goliath (1997), Gillian Slovo’s The Riots (2011) and Alecky Blythe’s Little Revolution (2014)
40% Project-based assessment
60% Essay (3000 words)


15 CAT - SPRING

Adaptation - Convenor Susan Haedicke Thursday 1400-1700 G52
CHow do we transform non-dramatic materials into a live performance? Adaptation for Performance is a practice-based module that uses a hands-on approach to understanding the adaptation process. We will analyse case studies of play texts and live and multi-media performances adapted from a range of source materials, including prose or poetry texts, biographical material, historical or current events, and visual images. Using these case studies as models, students will create and perform their own adaptations, primarily from literary sources. These will be presented in an extended class period or evening session during term time. In addition, each student will create an Artistic Dossier (also sometimes called Promotion Packet or Tour Pack) for a full-scale production adaptation using descriptions, models, images, performance, etc.
50% Project-based assessment 1
50% Project-based assessment 2


Love: Performance, Theory and Criticism - Convenor Milija Gluhovic Tuesday 1600-1800 G56
Module description:
Love remains an ever intriguing and complex emotion. Representations of love have been idealised, romanticised and formalised as part of theatre and performance tradition over centuries. In recent years love has also become visible (again) as a contested theoretical problem and political issue. The module addresses the “love question” as an open and exciting interdisciplinary field – one that traverses the arts, the humanities and the sciences. The module aims to explore this new, wide-ranging interest in love by looking into the ways in which the twentieth and twenty-first century artists have dealt with the subject of love as material for their work (e.g. Anski, Bergman, Pinter, Kane, Cavani, Haneke), while investigating a wide range of theories that explore changing ideologies, representations and practices related to the subject (Freud, Kristeva, Butler, Berlant and others). We will ask questions such as: What is love? Why/how is love interesting now? Can we study love historically? What does it mean about love that its expressions tend to be so conventional, so bound up in institutions like marriage and family, property relations, and stock phrases and plots? How can we re-envision love so that it creates different kinds of intimately social (rather than intimate vs. social) bonds that embrace difference (vs. sameness) and are transformative of the self? Finally, what does love bring to the study of theatre and performance? How do performances of love in theatre or cinema deconstruct or confirm its social and political coding? How do theatre and performance recreate and subvert social scenarios of love? The topics to be covered will range from ethics and politics of love, gendered interests in love, to love as a force in radical transformations of society.

Learning outcomes:
By the end of the module students should be able to demonstrate a critical understanding of a broad constellation of contemporary plays, performances, and visual art references in the light of cultural, political, historical, and philosophical debates on the analysis, ethics and politics of love in the modern world. Furthermore, students should come away from this seminar with a new set of conceptual models and analytic tools to make use of in thinking about this complex and rich body of art. Students will achieve these learning outcomes through close reading of primary and secondary material, seminar discussions based around prescribed texts and seminar papers on specific topics. In addition to film screening, performance recordings will be used to illustrate the theatrical dimensions of the plays.

Grading and Guidelines:
Presentation: 15%
Essay: 35%
Performance Exam (Final project) 50%

Attendance and Participation
Your active participation in class is vital. You are expected to have completed all of the required readings for the day and engage in classroom discussions with intelligence, imagination and honesty.

Presentations
In your presentation, you are expected to summarize the argument of the article, make connections with the larger thematic questions of the course, and conclude by raising questions for discussion. If you choose a dramatic/literary text, performance, or film, you can present on one or more aspects of the material. Please hand in a brief outline of your presentation to me on the day of your presentation.

Essay
Write a research paper (3000 words) on a topic of your choice. You are welcome to read outside the course and incorporate this material into your paper. Your paper will be graded on the coherence and organization of your essay, the persuasiveness of your argument, your ability to use evidence to support your claim, the clarity of your prose, and of course, the merit of your ideas and analysis.

Performance Exam
Performance exam on a topic of your choice. More details tba.

Schedule (subject to change):

Week 1

Love Studies / Discourses on Love / Plato’s The Symposium (Adapted and directed by Jeffrey L. Gangwisch, 2015)

Week 2

Freud and Eros: Love, Lust and Longing / Strindberg’s Miss Julie (with a guest, Dr Daniel Orrells, Classics Department at Warwick, tbc)

Week 3

Love, Loss, and Recovery / Anski’s The Dybbuk / Kristeva’s Tales of Love

Week 4

Desire, Love / Kane’s Phaedra’s Love; Racine’s Phedre / Berlant’s book Desire, Love / Butler’s Precarious Life (chapter 1, on intersubjectivity)

Week 5

Love, Care and Solidarity / Bergman’s Scenes from a Marriage / Haneke’s film Amour

Week 6 -- Reading Week

Week 7

Love, History, Fantasy / Pinter’s Ashes to Ashes; Cavani’s film Night Porter

Week 8

Queer Bonds / Fraser’s Unidentified Human Remains and the True Nature of Love.
(with a guest, Dr Oliver Davis, French Studies at Warwick, tbc.)

Week 9

Is One the Loneliest Number?: Arguments for the Uncoupled

Week 10

Politics of Love and Radical/Revolutionary Transformation

Illustrative Bibliography:

Plays/Performances/Films:
Anski, A. The Dybbuk, in The Great Jewish Plays in Modern Translations, ed. Joseph C. Landis. Avon, 1972.
Cavani, Liliana. The Night Porter (film, 1974)
Fosse, Jon. Nightsongs, 1998.
Fraser, Brad. Unidentified Human Remains and the True Nature of Love. Blizzard Pub Ltd, 1990.
Haneke, Michael, dir. Amour (film, 2012).
Kane, Sarah. Phaedra's Love. London: Methuen Drama, 1996.
The Museum of Broken Relationships, concept by Olinka Vištica and Dražen Grubišić. See: http://brokenships.com/en/about
Pinter, Harold. Ashes to Ashes. New York: Grove Press, 1996.
Racine, Jean. Phedre. Trans. Ted Hughes. Faber and Faber, 1998.
Strindberg, August. Miss Julie. Trans. by Michael Meyer. London: Methuen, 2006.
[And Katie Mitchell’s staging of the play (Berlin’s Schaubühne, 2010; Barbican 2013).
Waszyński, Michal, dir. The Dybbuk (Der Dibek) The original Yiddish-Polish film based on Sholom Anski's classic play about possession and exorcism, from 1937).

Theory/Criticism:
Ahmed, Sarah. The Cultural Politics of Emotion. Edinburgh University Press, [2004] 2014.
Barthes, Roland. Trans. Richard Howard. A Lover’s Discourse: Fragments. Penguin, 1990.
Bauman, Zygmunt. Liquid Love: On the Frailty of Human Bonds. Polity Press, 2003.
Berlant, Lauren. “Love: a Queer Feeling.” Homosexuality Psychoanalysis. Dean, Tim;
Lane, Christopher, eds. U of Chicago Press, 2001. 432-451.
---. Desire/ Love. New York: Punctum Books, 2012.
Butler, Judith. The Psychic Life of Power. Stanford: Stanford University press, 1997.
___.”Violence, Mourning, Politics,” Precarious Life: The Powers of Mourning and Violence. New York: Verso, 2004. 19-49.
---. “Remarks on ‘Queer Bonds.’” GLQ: A Journal of Lesbian and Gay Studies 17. 2-3 (2011): 381-387.
Body & Society. 16.1 (March, 2010), Special issue on Affect Studies.
Benjamin, Jessica. The Bonds of Love: Psychoanalysis, Feminism, and the Problem of Domination. London: Virago, 1990.
Cavarero, A. In Spite of Plato: A Feminist Rewriting of Ancient Philosophy. New York, 1995.
Cobb, Michael. Single: Arguments for the Uncoupled. New York: New York University Press, 2012.
Halley, Janet, and Andrew Parker, eds. After sex?: On Writing since Queer Theory.
Duke University Press, 2011.
Hesford, Victoria. “The Politics of Love: Women’s Liberation and Feeling Differently. Feminist Theory 10.1 (2009): 5-33.
Sigmund Freud, Three Essays on the Theory of Sexuality, Standard Edition, volume 7, 135-243.
Jónasdóttir, Anna G., and Ann Ferguson, eds. Love: A Question for Feminism in the Twenty-First Century. Routledge, 2013.
Kristeva, Julia. Tales of Love. Trans. by Leon S. Roudiez. Columbia University Press, 1987.
Luhmann, Niklas. Love: A Sketch. Trans. Kathleen Cross: Cambridge Polity Press, 2012.
Nicholas, Lucy. Queer Post-Gender Ethics: The Shape of Selves to Come. Palgrave Macmillan, 2014.
Nussbaum, Martha Craven. Love’s Knowledge: Essays on Philosophy and Literature.
Oxford University Press, 1990.
Ridout, Nicholas Peter. Passionate Amateurs: Theatre, Communism, and Love. University of Michigan Press, 2013.

**Other texts will be added depending on the interests of the group.


15% Assessed Seminar Presentation I
35% Essay
50% Assessed Seminar Presentation II


Performing Online Convenor Tim White Wednesday 1100-1300 Edit Suite/G52
What freedoms do we relinquish for the opportunity to participate in social networks online? How much of ourselves do we upload and what is the relationship between our online self and that which remains offline? What are the possibilities and dangers of virtual worlds? This module looks at the interventions of theatre practitioners and artists who consider these questions as well as interrogating posthuman and cyborg futures, culminating in small group projects that explore what it means to perform online.

50% - Project-based assessment
50% - Essay

OPTIONS 2015/16 MAIN PAGE

2nd Year

Outlines
Timetables
CLASS LISTS

Forms Deadline
4pm Friday Wk 2
(1st May 2015)

2nd Year Single Honours
2nd Year English & Theatre
2nd Year other Joint Students


3rd Year

Outlines
Timetable
CLASS LISTS

IRO Briefing document

Forms Deadline
4pm Friday Wk 2
(1st May 2015)

3rd Year Single Honours
3rd Year English & Theatre
3rd Year other joint students


External Students

If you are not taking a Theatre Studies Single/Joint degree you can still apply for a selection of our modules. All students, including those from Film wishing to take Wired should use the form below to see the modules we offer as External options (please note that places are limited and first choice is assigned to Theatre Single/Joint Honours Theatre students.

Form Deadline
4pm Friday Wk 2
(1st May 2015)

External Form


External Modules

If you wish to take modules in another department (single honours students can take up to 30 CATS per year externally) you should make contact with the department concerned and determine whether this is possible, whether the module clashes with others you have chosen in Theatre and also discuss suitability with your Personal Tutor.

As there is no centralised list of modules avaialble we will publish links here to those that have been sent to us but you should contact other departments for full information:

IATL MODULES 2015/16