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Do you want to gain knowledge and understanding of the history, practice and cultural significance of theatre, and writing for the stage? Are you interested in learning the craft of scriptwriting and enhancing your creative skills by exploring other forms including poetry, prose fiction, life writing and experimental writing? This is the course for you.
As well as doing lots of practical work, you'll also be introduced to a range of performance theories which you can apply to your practice as playwrights, performers, directors or researchers.
We have a strong link with Kingston's Rose Theatre – the largest producing theatre in south-west London. You will benefit from the resources and expertise of a professional theatre and gain important industry awareness. Regular classes are held in The Rose Studio, and occasional masterclasses on the main stage.
If you are planning to join this course in September 2020, please view the information about changes to courses for 2020/21 due to Covid-19.
Students who are continuing their studies with Kingston University in 2020/21 should refer to their Course Handbook for information about specific changes that have been, or may be, made to their course or modules being delivered in 2020/21. Course Handbooks are located within the Canvas course page.
You'll explore the history, theory, criticism and practice of theatre-making and writing for performance.
All theatre productions are 'authored' in one way or another, and the course allows you to consider this authorship in its widest sense: you can study playwriting alongside directing, for instance, or alongside acting and devising.
As well as acquiring practical knowledge through masterclasses from literary managers and playwrights, you'll also join our literary community, Writers' Centre Kingston, which hosts an annual programme of events from talks to workshops and festivals.
Each level is made up of four modules each worth 30 credit points. Typically, a student must complete 120 credits at each level.
Please note that this is an indicative list of modules and is not intended as a definitive list. Those listed here may also be a mixture of core and optional modules.
The main themes of the course: the history, theory, criticism and practice of theatre-making and writing for performance, are introduced in the first year, enabling you to identify and understand the focus that will characterise your learning throughout. You'll be encouraged to make links between these strands from an early stage in one of the core modules, Culture and Performance.
This module centres upon practical work designed to develop the skills appropriate to the undergraduate study of creative writing. These skills will be focused in the following areas: the analysis and use of published writing; language and style; seminar/workshop practice; and habits of writing, self-reflection and revision. The module will investigate how writers think about their craft and the techniques they use to write most effectively in their various mediums. Weekly lectures will be given by practicing writers who will introduce students to their own published work as well as that of a wide range of other authors. Students will read, analyse and discuss poems, short stories, plays and essays, and will develop a greater awareness of language and style in writing through a variety of exercises. These workshop exercises will allow students to establish guidelines for constructive participation and encourage co-operation and self-reflection.
This module is designed to familiarise you with a range of rhetorical strategies, aesthetic techniques, redrafting and editing skills, while also providing the opportunity to practise writing and editing in a number of literary and non-literary forms. In "Writing that Works" you are introduced to key techniques for writing effectively and you develop your ability to identify strengths and weaknesses in writing by studying a number of different forms of published texts, both literary and non literary. These abilities are first developed by reading and examining good and bad examples of writing in a variety of forms written for different audiences – from short stories and poems, to newspaper articles, commercial writing, blogs, ads, speeches, emails, informational pamphlets, and business letters. In addition to the examples offered by tutors, you will be encouraged to source independently further instances of good and bad writing to share with the class in seminars. The next step is for you to practise and obtain tutor and peer feedback on your own writing in these forms and styles. Transferable skills are embedded in the module through the editing and redrafting practice in which you will synthesise the reading, analysis and feedback you have received in order to produce a portfolio of writing that works. The module will make use of the expertise of a number of our Writers in Residence, Distinguished Writers and Creative Writing staff who will present and discuss examples of their own writing that has, and hasn't, worked.
This module compliments and extends knowledge and understanding of key concepts of performance developed in Making Theatre Happen by focusing on the relationship between the actor and the written playtext.
There are two interweaving strands and each is designed to serve as a foundation for your ongoing studies. You will explore fundamental components of drama such as plot, action, character and dialogue and examine ways in which each is presented in a series of written playtexts. These plays are studied in detail and each is identified as a pretext for performance. You are introduced to ways of interrogating the texts and develop a deeper knowledge and understanding of the relationship between what is written on the page and what is presented on the stage. The same playtexts are also used to explore a range of differing performance methodologies that can be utilised to identify the performance potentials of a text in a workshop environment. You are led through cycles of Preparation, Exploration and Realisation – understanding what these terms mean and the actions they consist of will be an important aspect of the module. You will not only learn appropriate ways in which to create intelligent and imaginative performance informed by a written text but also develop a range of acting skills necessary to perform them effectively.
Throughout the module you are also introduced to the basic principles of theatre lighting and sound and will be encouraged to explore the impact of these technical elements when used in a performance context.
The module introduces you to a range of contemporary cultural and critical perspectives on drama, and investigates the relationship between culture and performance. The major emphasis of the module is upon developing a refined understanding of how drama, theatre and performance operate in different contexts. The main features of the module are the investigation of ways in which drama expresses cultural and critical perspectives in practice, and the exploration of theories such as post-colonialism, feminism, and materialism as creative and analytical tools. The module is taught through seminar discussions and related practical workshops, supported by extra-curricular events such as theatre visits. The module is assessed formatively through the presentation of a performance essay and a supporting rationale.
Culture and Performance provides an essential platform for your understanding of drama as a discipline, and helps to deepen your understanding of what theatre is, how and why it is made, and how it makes meaning. The module provides an essential introduction to later drama modules that explore cultural and critical perspectives in more detail.
In Year 2, you'll develop an understanding of the relationships between various practices of writing and authorship, and the theatre in its myriad contexts.
You'll be encouraged to read widely, through exposure to a wide range of writers and their works.
This module is a core requirement for full field drama students. It focuses on new writing and its pre-eminent place in contemporary British theatre culture. Building on skills and knowledge gained in The Actor and the Text and Staging Histories, the module is designed to allow students both to study key plays in depth and also to develop an understanding of the historical conditions that led to the primacy of the 'new play' in British theatre of the post war period. Taking the establishment of the English Stage Company at the Royal Court in the mid-fifties as a starting point, students will study key plays and playwrights in the process acquiring an accurate overview of the styles of writing that have been most acclaimed, influential and/or controversial in recent decades. Particular attention will be paid to British playwriting in the 1990s and the origins, impact and aesthetics of the In-Yer-Face school. Students will also consider the impact of cultural and institutional policies, such as the establishment of the Arts Council and the young writer's programmes at various subsidised theatres - the Royal Court, Soho Theatre - in shaping contemporary drama, its forms and principal preoccupations.
The module introduces you to the craft of writing dramatic scripts for stage, screen and radio. Through a series of practical exercises, writing tasks and feedback you will become familiar with key principles of dramatic writing that apply across the three forms. A refined sense of how 'conflict' and 'action' build suspense, tension, humour or pathos; of how to create characters that draw the audience's empathy; of the importance of 'subtext' and of how to harness the scenographic dimension through stage directions and settings, all contribute to the craft of a successful dramatic writer. In addition, sessions on radio and screen writing will not only introduce students to the specific conventions of these forms but also, in drawing attention to the spoken word and aural dimension (in radio) and visual story-telling (in screen), you will be sensitised to the power of the scenography as a component of dramatic craft.
In this module, students will have the opportunity to progress their creative writing skills by exploring the relationship between theory and practice. Students will be presented with a range of theoretical and contextual approaches to the production of imaginative work, and will be invited to respond to these provocations through their creative projects. Students will attend interactive lectures whose themes may include psycho-geography, adaptation, narrative techniques for literary authors, history and narrative, identity and aesthetics.
Students will learn more advanced practical techniques for crafting expressive, imaginative work, which will allow them to make more sophisticated use of aspects such as voice, point of view, structure, character, imagery, and tone. The module will entail the reading and discussion of texts by a variety of contemporary authors, whose work reflects the diverse range of styles and approaches at work today. Students can choose to experiment with writing the novel, short story, script for radio, stage or screen, or poetry.
Students will be asked to participate in improving each other's work by offering thoughtful, constructive feedback. Along with developing their own personal sense of voice and style, students will practise applying skills learned on the module to real-world situations faced by professional authors, such as writing a piece for a commission or for a target audience.
It is our intention that the varied writing skills and writing responses generated in this module will add to the employability of its students within creative fields.
This is a dissertation-style module, taught through a combination of small-group sessions and individual tutorials, in which students will have the opportunity to work on a sustained creative writing project of their choosing. They will produce a substantial piece of writing in a chosen form, having undertaken contextual reading in that form and engaged in other research as appropriate, such as location scouting, conducting interviews, or visiting archives and specialist collections. Through group workshops and presentations, as well as one-on-one tutorials, students will receive constructive feedback and guidance on how to plan, structure, write, revise, and edit their projects, and gain advice in developing the skills and habits necessary to working independently. In addition, students will learn how to plan strategies for the possible dissemination and promotion of their projects in the world outside the university, as professional authors would, such as through various methods of publication or performance. By learning to work independently and by planning the dissemination and promotion of their projects, students will acquire the entrepreneurial skills and abilities necessary for success in self-employment and in other professions.
This module provides an opportunity for students to enlarge on studies in Level 4 by considering the production history of Shakespeare's plays. Three or four of the plays are studied in depth, and others used for reference. The plays are studied in a practical way, to explore their form and elicit their changing meanings in different theatrical and cultural contexts and at key historical moments. The module explores changing approaches to production since the first performances in Elizabethan and Jacobean theatre and evaluates the impact which players and directors and their methods have had on the reception of Shakespeare at different particular moments. The module seeks to pinpoint how the social/ cultural/ political concerns of any given time have been dramatised in productions of Shakespeare's plays. Changing themes are explored to see how they might have been dramatised at different times, as a means of defining what has been meant and what is meant by ‘Shakespeare'. Research tasks include the treatment of the plays in different playing contexts: on the stage, on the screen and in the workshop/ classroom.
This module builds on the knowledge, understanding and performance skills students have gained in Level 4 modules, particularly DA4003, The Actor and the Text and DA4001 Staging Histories. It provides an opportunity to explore in detail the key facets of Modernism, as it manifested in theatre and especially in relation on how it impacted on the role of the actor. The first part of the module explores the themes and principles of Naturalism in theory and practice. Students study its historical context and conventions alongside the work of key dramatists and directors who helped to shape it. Scenes from key plays are explored in detail and appropriate processes used to realise them in performance. The second part of the module explores the gravitation away from Naturalism towards the ‘Anti-Realist' modes of the early twentieth century Avant-Garde, including on Symbolism, Surrealism, Expressionism and Epic theatre. The conventions, themes and principles of these movements are explored in terms of their social, cultural and political concerns. Selected texts from key dramatists will be fully interrogated within the workshop/classroom and their influence on the work of the actor today will be examined.
This module enables Level 5 Drama students to explore in detail a range of theatre rehearsal and production processes. Students will develop knowledge and understanding of the role and function of the theatre director in relation to the other key members of the creative team: actors, designers and technicians, and apply the skills and competencies they develop to the independent creation and production of theatre performance. The module's initial focus is directorial preparation. Students will use Katie Mitchell's The Director's Craft as a template to explore, amongst other things, production-focused play analysis; interpretation and Dramaturgy; workshopping the text and ways in which to rehearse a scene. This section of the module will culminate in the preparation and presentation of a rehearsal demonstration. They will then be encouraged to think about the production more broadly and produce a director's book demonstrating that they are able to consider carefully the perspectives and approaches of theatre designers and technicians whilst discovering effective ways to collaborate with the production team.
This module runs throughout the academic year and introduces students to a range of European popular performance traditions. Commedia dell' arte, pantomime and clown are typical examples of these traditions although the module could equally focus on a number of other forms. The origins and histories of these modes of performance are examined and used as a foundation for the exploration of theory associated with academics and practitioners such as Jacques Lecoq, John Rudlin, Dario Fo and John Wright. Both the historical context and the theoretical framework provide a reliable basis for the practical exploration of essential techniques and conventions of performance associated with each of the forms studied. The mutable and capricious Clown, an enduring feature of popular performance, is a recurrent figure within the module and serves as a playful means of approaching concepts such as presence, play, and the role of the spectator in the creation of meaning as well as common themes such as marginality, transgression order and chaos.
In Year 3, core modules bring the course themes together by requiring you to demonstrate how historical, contextual and theoretical research underpins and feeds into dramatic writing for the stage.
You'll also work on a substantial project and demonstrate how you can work independently. The range of optional modules also allows you to focus on and develop other areas of interest.
Creative Writing Dissertation Project is a year-long 30-credit module which showcases and synthesises students' practical skills, knowledge gained, and creative talent nurtured and developed throughout their creative writing degree. It documents them in a unique portfolio that can be presented to a range of audiences, potential sponsors and employers. The specific nature and dissemination of the project is influenced by the type of joint-honours degree you are taking and this is reflected in the proposal initiated and developed by you yourselves in discussion with your supervisor. The project also builds on accumulated experience in research and creative writing in an inter- and transdisciplinary context, as it encourages you to make use of lateral thinking in order to draw on knowledge from across your course in conceptualising and producing their creative dissertation. It fuses creativity, initiative and imagination cultivated in a practice-based writing course with skills gained in joint disciplines in a way which resonates with the demands of contemporary creative economies and job markets.
In its format, the portfolio of work included in the Creative Writing Dissertation Project reflects stages of project development and execution encountered in a range of creative and research industries (proposal/bid, creative practice, dissemination and evaluation). Specific phases are designed to strengthen initiative and enterprise, in a process which benefits from employability-related skills gained in Level 4 and Level 5 modules such as, but not limited to, Writing that Works and Independent Creative Writing.
Throughout the project, you will gain knowledge of the most effective ways of presenting creative work to a wider audience including employers, sponsors, and commissioning bodies. Against the increasing dominance of self-publication, you will learn how to operate successfully in the literary market without traditional networks of support. The work on the portfolio emphasises transferable skills and employability, as well as entrepreneurship and self-reliance, whether you are preparing to enter the job market, work freelance or progress to postgraduate study.
This module is an optional module for all Drama and Creative Writing students at Level 6 and runs throughout the academic year. Responding to the changing status of live performance in the twenty-first century, the module explores alternatives to the mainstream 'dramatic' tradition of playwriting. It takes into consideration how cultural shifts such as the advent of new technologies and a global community are or might be reflected in contemporary writing for the stage and in media-based performance (for example audio drama and experimental film). You will encounter a selection of play-texts and performances from the historical and contemporary avant-garde which act as prompts to your creative explorations of playwriting and performance writing methods and techniques. You are encouraged to be experimental and innovative in your own writing, and to question the role of both the theatre and the playwright. This is a practical and creative module that may involve performance-based exercises (for example improvisation and task-based performance) as well as writing ones.
The module develops understandings and themes encountered in DA5005 The Play Today and is particularly suited to those who achieved a pass or above in DA5001 Write Action. The module is ideal preparation for those who are considering masters level study in playwriting, as well as those looking to pursue performance-making after graduation.
This is a core requirement for full field Drama students and an option for students taking Drama as a major field. It enables students to develop ideas and research and carry them through to realisation. It is a capstone project which allows students to draw together their learning from across the Drama programme and apply it in a 'real-world' context through the creation, rehearsal and performance of a theatre production.
This module is largely undertaken through independent group-based rehearsal, although there is also a series of presentations and workshops addressing specific areas such as groupwork strategies, problem-solving, rehearsal planning and scheduling, managing budgets and publicity and marketing. Students form groups, select roles and choose scripts, themes and modes of performance based on a 'pitch' they make and the feedback received at the end of Teaching Block One. The size of groups may vary but groups should not be made up of fewer than 5 students or more than 12. Each group will have a designated supervisor and a budget allocated on the basis of group size. The rehearsal process will be constructed around a series of formatively and summatively assessed stages such as work in progress performances, group and individual reflective exercises, submission of design and technical plans and presentation of publicity materials. Performances will be scheduled across a number of weeks in consultation with the Drama Technical Production Manager.
This is a year-long optional module in the Creative Writing field. It provides an opportunity for students to challenge their work in each form (Prose, Poetry, Drama) by reading experimental writing within and across genres and traditional form boundaries, and to produce a portfolio of work that engages with experiments of their own. It will follow a lecture/seminar format, with some small-group workshops and tutorials, as well as an online forum for peer review. It may be of interest to students wishing to engage in experimental writing in a sympathetic environment.
The main features of the module are the study of experimental literary texts of the 20th and 21st centuries -- such as experimental novels that play with form and genre, visual, concrete, digital or alternative poetry, and innovative drama – and the creative writing practice either in imitation of such experiments, or in the experimental creation of new and hybrid forms and genres. This dual focus on experimentation – a conceptual exploration and the practical testing of literary boundaries -- enables students to produce work that challenges, experiments with, or reflects upon preconceptions of form, genre or language.
This challenging and interesting special study module aims to provide you with the opportunity to engage with different examples of popular fiction such as crime fiction, romance, the thriller, and science fiction. It will enable you to identify the standard practices of popular genres and understand why they succeed or fail in particular texts. It will encourage you in the critical study of narrative techniques to best learn how to apply them in a work of popular fiction. You will experiment in writing crime, SF, thriller and romance stories before choosing one or two of these genres to take through to your final submission. All this will be put into the context of more general and transferable lessons to be learnt in the art of compelling storytelling.
For each genre studied you will read two core novels, plus a more general theoretical text on narrative construction. The module is lead by a writer of four published crime/thrillers.
Building on knowledge and skills acquired in Level 5, this module is designed to provide students with in depth knowledge and understanding of key trends in British theatre and performance in the twenty-first century. In particular the module allows students to develop critical awareness of how current discourses in identity politics - class, ethnicity, gender, sexuality and nation - have been figured in and through performance in contemporary Britain. The module considers how, theatre companies, dramatists and theatre makers have responded, and continue to respond, to the social, political and economic pressures that problematise the very idea of Britain and Britishness in the twenty first century.
The cultural impact of music hall, variety theatre and differing incarnations of cabaret has been felt at various times since the latter half of the nineteenth century and the legacies of these traditions continue to inform a wide range of current performance practice. This year-long module, which is optional for all Drama students at Level 6 provides, an opportunity to study a range of popular performance forms from historical, theoretical and practical perspectives. It therefore enables students to investigate issues such as the impact of Modernism and the emerging avant garde on the cabaret culture that spread throughout Europe, but significantly not as far as the UK, during the late nineteenth century; the importance of the halls in the development of popular culture; the birth of alternative cabaret and subsequently alternative comedy as a reaction to the Thatcherite politics of the late 1970s and early 1980s; and the current popularity of neo-burlesque. It also supports the exploration of essential practicalities such as the development and expression of a performer's personality; establishing rapport with the audience; ways in which material might be generated; and the necessity of presence and spontaneity.
This is a year-long optional module in the Creative Writing field. It allows an advanced, detailed, and extensive study of forms of dramatic writing (stage, screen, and radio) giving students a sophisticated understanding of its developments, codes and contexts, and allowing them to engage with this genre from the perspectives of both theory and their own writing practice. Starting with the study the work of contemporary playwrights such as Martin Crimp, Lucy Kirkwood, Timberlake Wertenbaker and Caryl Churchill, we will examine how such writers who were produced by the main new writing houses (Royal Court Theatre, Soho Theatre and the Royal National Theatre) have responded to significant social events and phenomena through the genre of drama. Our approach will be both theoretical and practical and we will use the techniques acquired from this study and apply them to an exploration of other dramatic forms such as film, television and radio. Conceptual analysis is reinforced by practical work designed to enable students not only to understand the conventions of their chosen genre but also to apply them creatively to their own writing. The module may suit students wishing to devote extensive consideration to developing their expertise in writing for the stage, radio, film and television, and produce a sustained body of work within its conventions. This special study will be taught in small groups by members of staff who have extensive experience of writing drama across a range of forms.
Tragedy, Catastrophe, Trauma is a special-study option module in the third year Drama field, and may be taken by both single honours and joint honours students. The module examines how ideas about tragedy have changed, and how these changes have produced different forms of tragedy at different times. The major emphasis of the module is on approaches such as Howard Barker's Theatre of Catastrophe, where the idea of tragedy is re-worked in relation to the practitioner's understanding of contemporary social, political and cultural contexts. The main feature of the module is critically-informed experimentation with staging a tragic drama for today. The module is taught through practical workshops exploring key texts in the development of tragedy. These texts are introduced and contextualised through a series of seminars and research tasks. The module is assessed formatively through presentations in class, and summatively through an academic essay, and the performance of an extract from a Barker play. Core materials are provided through Study Space and the LRC. This module provides students with an independent and in-depth practical and critical engagement with the origins, development and significance of different forms of tragic theatre.
The information above reflects the currently intended course structure and module details. Updates may be made on an annual basis and revised details will be published through Programme Specifications ahead of each academic year. The regulations governing this course are available on our website. If we have insufficient numbers of students interested in an optional module, this may not be offered.
You can also study this course with a Foundation year.
Kingston creative writing graduate Sumia Sukkar's novel, The Boy from Aleppo Who Painted the War, has been broadcast as a drama on BBC Radio 4 and made Pick of the Week in The Sunday Times and The Daily Mail, as well as featuring on Radio 4's own Pick of the Week. Sumia was also interviewed on BBC Radio 4's Front Row.
The Boy from Aleppo Who Painted the War tells the story of the conflict in Syria through the eyes of an autistic teenager.
The Bookbag's Liz Green said of the novel:
"However deep-rooted your compassion fatigue, this book will jolt you out of your cosy existence, demanding to be read... The words are easy, the prose flows beautifully and the plot moves forward effortlessly, but the story is grim, and could never be otherwise... This is one of those books that, like The Help by Katherine Stockett and Birdsong by Sebastian Faulks, should become compulsory reading in schools for its simple truths."
UCAS tariff points: 112 for BA (Hons); 48 for BA (Hons) including foundation year.
Level 3 qualifications, including Drama and Theatre Studies, English Language/Literature, Performing and Production Arts (i.e. A-levels, BTEC Diploma, Access Diploma, IB Diploma, etc.).
Entry on to this course does not require an interview, entrance test, audition or portfolio.
All non-UK applicants must meet our English Language requirements. For this course it is Academic IELTS of 6.5 overall, with no element below 5.5.
Make sure you read our full guidance about English language requirements, which includes details of other qualifications we consider.
Applicants who do not meet the English language requirements could be eligible to join our pre-sessional English language course.
Applicants from recognised majority English speaking countries (MESCs) do not need to meet these requirements.
Timetabled teaching and learning on this course includes acting technique classes and workshops, practical performances, rehearsal lectures, small group tutorials, seminars, and group work.
When not attending timetabled sessions you will be expected to continue learning independently through self-study. This typically will involve reading journal articles and books, working on individual and group projects, undertaking preparing coursework assignments and presentations, and preparing for final assignments. Your independent learning is supported by a range of excellent facilities including online resources, the library and CANVAS, the online virtual learning platform.
Our academic support team here at Kingston University provides help in a range of areas.
When you arrive, we'll introduce you to your personal tutor. This is the member of academic staff who will provide academic guidance, be a support throughout your time at Kingston and who will show you how to make the best use of all the help and resources that we offer at Kingston University.
Year 1 - Core modules
Year 2 - Core modules
Year 3 - Core modules
We aim to provide feedback on assessments within 20 working days.
Your individualised timetable is normally available to students within 48 hours of enrolment. Whilst we make every effort to ensure timetables are as student-friendly as possible, scheduled teaching can take place on any day of the week between 9am and 6pm. For undergraduate students, Wednesday afternoons are normally reserved for sports and cultural activities, but there may be occasions when this is not possible. Timetables for part-time students will depend on the modules selected.
You'll study in a dynamic department staffed by talented drama teachers, playwrights, authors and actors, including Winsome Pinnock, Alfred Fagon Award winner for Best New Play of the Year in 2018 for Rockets and Blue Lights.
Our creative writing teaching team are best-selling and award-winning writers, agents, publishers and successful alumni, who'll you meet with regularly to support your studies.
You will be part of our drama community, studying in our fully equipped drama space, the Reg Bailey building, and at Kingston's Rose Theatre where you will have the opportunity to perform.
In the Reg Bailey building, there are two flexible black box studios, and three rehearsal rooms on-site, with further rehearsal space in an adjacent building.
Practical classes are taught in the Rose Theatre Studio, which is dedicated to your use. All our studio spaces are fitted out as working venues, and provide excellent spaces for you to perform their work.
The campus at Penrhyn Road, where Creative Writing is taught, is a hive of activity, housing the main student restaurant, the learning resources centre (LRC), and a host of teaching rooms and lecture theatres.
At the heart of the campus is the John Galsworthy building, a six-storey complex that brings together lecture theatres, flexible teaching space and information technology suites around a landscaped courtyard.
Kingston's drama and creative writing graduates work in the creative industries as actors, writers, directors, stand-up comedians, outreach workers, technicians, producers and events managers. In addition to pursuing careers as writers, they work in publishing, journalism, advertising and marketing, arts management, new media, education, community arts, the public relations industry, business, and therapeutic fields.
A number of graduates go on to postgraduate study in theatre, creative writing, media or to teacher training.
Our alumni have published novels in a variety of countries as well as gaining employment in a range of industries where accurate and imaginative writing is valued.
We have industry links with publishers, theatre professionals and literary agents, as well as working writers in a variety of fields.
The tuition fee you pay depends on whether you are assessed as a 'Home' (UK), 'Islands' or 'International' student. In 2021/22 the fees for this course are:
|Home (UK students)||
Foundation year: £9,250
Foundation year: £15,000
For courses with a sandwich year, the fee for the placement year can be viewed on the undergraduate fees table. The placement fee published is for the relevant academic year stated in the table. This fee is subject to annual increases but will not increase by more than the fee caps as prescribed by the Office for Students or such other replacing body.
* For full time programmes of a duration of more than one academic year, the published fee is an annual fee, payable each year, for the duration of the programme. Your annual tuition fees cover your first attempt at all of the modules necessary to complete that academic year. A re-study of any modules will incur additional charges calculated by the number of credits. Home tuition fees may be subject to annual increases but will not increase by more than the fee caps as prescribed by the Office for Students or such other replacing body. Full time taught International fees are subject to an annual increase and are published in advance for the full duration of the programme.
Eligible UK students can apply to the Government for a tuition loan, which is paid direct to the University. This has a low interest-rate which is charged from the time the first part of the loan is paid to the University until you have repaid it.
The tuition fee you pay depends on whether you are assessed as a 'Home' (UK or EU), 'Islands' or 'International' student. In 2020/21 the fees for this course are:
|Home (UK and EU students)||
Foundation year: £9,250
Foundation year: £14,600
For courses with a sandwich year, the fee for the placement year can be viewed on the undergraduate fees table. The placement fee published is for the relevant academic year stated in the table. This fee is subject to annual increases but will not increase by more than the fee caps as prescribed by the Office for Students or such other replacing body.
* For full time programmes of a duration of more than one academic year, the published fee is an annual fee, payable each year, for the duration of the programme. Your annual tuition fees cover your first attempt at all of the modules necessary to complete that academic year. A re-study of any modules will incur additional charges calculated by the number of credits. Home/EU tuition fees may be subject to annual increases but will not increase by more than the fee caps as prescribed by the Office for Students or such other replacing body. Full time taught International fees are subject to an annual increase and are published in advance for the full duration of the programme.
Eligible UK and EU students can apply to the Government for a tuition loan, which is paid direct to the University. This has a low interest-rate which is charged from the time the first part of the loan is paid to the University until you have repaid it.
Depending on the programme of study, there may be extra costs which are not covered by tuition fees, which students will need to consider when planning their studies.
Tuition fees cover the cost of your teaching, assessment and operating University facilities such as the library, IT equipment and other support services. Accommodation and living costs are not included in our fees.
Our libraries are a valuable resource with an extensive collection of books and journals as well as first-class facilities and IT equipment. You may prefer to, or be required to, buy your own copy of key textbooks.
There are open-access networked computers available across the University, plus laptops available to loan. You may find it useful to have your own PC, laptop or tablet which you can use around campus and in halls of residences.
Free WIFI is available on each of the campuses.
In the majority of cases coursework can be submitted online. There may be instances when you will be required to submit work in a printed format. Printing and photocopying costs are not included in your tuition fees.
Travel costs are not included but we do have a free intersite bus service which links the campuses and halls of residence.
However, over and above this you may incur extra costs associated with your studies, which you will need to plan for.
In order to help you budget, the information below indicates what activities and materials are not covered by your tuition fees
The costs vary every year and with every student, according to the intentions for the type of work they wish to make. Attainment at assessment is not dependent upon the costs of materials chosen.
The Government has recently announced that new students from the European Union and Swiss Nationals starting their course after August 2021 will no longer be eligible for a student loan in England for Undergraduate or Postgraduate studies for 2021/22 academic year. This decision only applies to new EU students starting in 2021/22. If you are an existing/continuing EU student, you will continue to be funded until you graduate or withdraw from your course.
Our undergraduate fees and funding section provides information and advice on money matters.
We do not anticipate making any changes to the composition of the course, i.e. number of modules or credits in a year, as a result of the pandemic.
In order to safeguard our students' health and safety and to minimise the risk of disruption to their studies, the University has postponed all Study Abroad programmes for outgoing students in the first teaching block of 2020/21. The University will review this decision before the second teaching block and will take into account relevant government advice at that time.
Changes can be made to courses as part of normal enhancement processes in order to keep our courses up to date with current developments in that subject area and to provide a high quality student experience. Any such changes made to the composition of the course will be highlighted to students during the induction period.
We do not anticipate making any changes to module titles and summaries or to the availability of modules as a result of the pandemic.
Changes can be made to modules as part of normal enhancement processes in order to keep our courses up to date with current developments in that subject area and to provide a high quality student experience. Any such changes made to module titles and/or availability of modules will be highlighted to students during the induction period.
We expect to deliver the course within the planned timescales to enable successful students to progress through and graduate from the course without delay.
In exceptional circumstances the sequence of learning and teaching activities may be changed, e.g. re-sequencing those modules that can be delivered more effectively under the current restrictions with those which would be more difficult to deliver, such as practical modules and placements.
If the current pandemic situation continues into the next academic year and beyond, the University may be unable to offer suitable placements which may then impact the length of the course. In these circumstances the University will provide students with appropriate alternative options and ensure that support will be available to them so that they are able to make informed choices.
We have not changed entry requirements as a result of the pandemic. However, the range of accepted alternatives have increased as has the way in which we select students, which now includes virtual interviews and online portfolios.
We have not changed entry requirements for international students as a result of the pandemic. However, in response to the pandemic, we now accept a much broader list of English language exams for entry to the course; the level of these exams remain the same.
Due to the current pandemic the course's teaching and learning activities will be delivered through both online and on-campus methods (blended learning) in 2020/21. In order to provide all students with a comparable on-campus experience, the University has committed to ensuring that all courses provide at least 30% of their teaching and learning activities on-campus.
While physical distancing measures remain in place, you will receive your learning and teaching via a blend of on-campus and on-line activities. Should your circumstances prevent your attendance at on-campus sessions, you will still be able to engage with your course in a way that allows you to progress. Where this is not possible, support will be available to consider what options are open to you.
The University will continue to closely monitor government announcements and advice in relation to the current pandemic and, where required, will take any necessary action in order to comply with such advice.
In the event that a further lockdown is enforced the University will aim to deliver the course fully online. This may require some additional changes being made to planned teaching and learning activities, including assessments. The majority of our courses are prepared to be delivered fully online if the situation requires it. Where the quality of the student experience may be compromised significantly, or the course is unable to be delivered fully online, the University may need to suspend the delivery of that course until a time that it can be delivered appropriately. Students will be supported in these situations to ensure they are able to make the right choices for their particular circumstances.
In the event that the current social distancing restrictions are fully lifted and the University is able to resume normal delivery of teaching and learning activities, courses will assess whether it is in the students' interest to resume normal delivery. In some cases it may be better to continue and complete modules under the planned blended delivery mode.
Changes to the overall breakdown of scheduled teaching hours, placements and guided independent study hours will not be made as a result of the pandemic. However, it is possible that some adjustments might be made at module level, e.g. a few more scheduled activities, in order to help ensure student engagement with blended learning.
Any changes made to the overall breakdown of scheduled teaching hours, placements and guided independent study hours for year 1 of the course will be highlighted to students during the induction period.
'Scheduled teaching' includes teaching that is online either live or recorded / on demand.
Your individualised timetable for teaching block 1 (i.e. up to December 2020) should be available by the end of August. Timetables for teaching block 2 (i.e. from January 2021) will not be available until the autumn. Whilst we make every effort to ensure timetables are as student-friendly as possible, scheduled teaching can take place on any day of the week between 9am and 9pm. To accommodate smaller group sizes and social distancing, we will need to maximise the time available for teaching. This means, we may have to use Wednesday afternoons and enrichment week for additional teaching slots. Timetables for part-time students will depend on the modules selected.
On campus classes will necessarily be smaller inclass size due to social distancing procedures. We will accommodate smaller groups for learning and teaching activities and all Performing Arts activities will place students in small learning bubbles that stay the same. Online (synchronous) teaching sessions will be delivered by video conferencing apps to enable full, small and one-to-one teaching and learning activities to take place.
Changes can be made to modules, including how they are assessed, as part of normal enhancement processes in order to keep our modules up to date with current developments in that subject area. Due to the current restrictions in place, i.e. social distancing, it is anticipated that many formal on-campus examinations, including practical examinations, will be replaced with alternative assessments which can be completed online. These changes will be considered and approved through the University's processes to ensure that student assessments will be able to demonstrate they have achieved the expected learning outcomes. The approval process will also assess whether the change impacts the status of any professional body accreditation the course benefits from.
Any changes to the overall methods of assessment for Year 1 of the course will be highlighted to students during the induction period.
There will be some changes to methods of assessment in our modules. Practical assessments, that require group work have been reviewed to enable us to follow social distancing guidelines. Assessments for these modules will be smaller group collaborations or individual performances, instead of larger group performances specifically for Drama Production Project modules.
No changes are expected to the general level of experience or status of staff involved in delivering the course.
As a result of the social distancing restrictions in place, on-campus teaching activities may need to be split into smaller groups which may require the support of teaching assistants and student mentors, who will be managed by experienced staff.
There will be no changes to published tuition fees for 2020/21.
As a result of the blended delivery of courses in 2020/21, where a significant proportion of the teaching will be done online, students will need a personal laptop or computer and access to the internet to participate in online teaching and learning activities. Students who are able to travel will have access to computers on campus, however, it should be noted that access to on-campus facilities will be restricted due to social distancing requirements.
The University is considering how best to provide support to students who do not have access to suitable hardware and software requirements and access to the internet. Identifying students who require this type of support is an important milestone for the University in our journey to ensure equity of access while we continue to deliver our blended approach. Information about the support that will be available will be provided to students during the induction period.
There will be no changes to any existing University funding arrangements for 2020/21. Currently there are no indications from the UK government that there will be any changes to government funding arrangements.
There will be no changes to published tuition fees or funding arrangements specifically relating to international students for 2020/21.
Placements (including work and clinical placements) and field trips included as part of the course will go ahead as planned. However, to ensure students are able to gain maximum value from these activities, it may be necessary to reschedule them to later in the year, or to a different year when current restrictions have been lifted. We acknowledge that this year it may be more difficult for students to secure appropriate placements. In those situations, students will be guided and supported through the various options that will be available to them, including switching courses or interrupting their studies until a time when they can complete their placement.
Any proposed changes to placements or field trips would go through the University's agreed processes where the impact of the change will be carefully considered. Students will be advised of any changes that may become necessary and appropriate support will be available to guide them through the various options that may be available to them.
In the interest of the health and wellbeing of our students, the University will ensure that appropriate risk assessments are made before students are sent on a placement.
Courses which require placements or field trips to be completed in order to pass relevant modules will have contingency plans in place in the event that a placement or field trip cannot be completed due to another lockdown or more stringent social distancing measures.
Voluntary placements or field trips may be rescheduled, or, as a last resort, cancelled if it becomes difficult to deliver them and doing so is in the interest of the health and safety of our staff and students.
No changes will be made to the qualification awarded, e.g. BSc (Hons), as a result of the pandemic.
Changes can be made to courses, including the qualification awarded (although very rare), as part of normal enhancement processes in order to keep our courses up to date with current developments in that subject area. Any changes made to the qualification awarded for the course will be highlighted to students during the induction period.
During the pandemic, the University has been working closely with all its associated professional bodies to establish where flexibility/changes can be applied without undermining their professional standards. This will ensure that any changes made to courses which have professional, statutory or regulatory body (PSRB) accreditation do not negatively impact the accreditation status.
In the very exceptional circumstance that professional bodies do not agree with changes proposed, it may be necessary to defer relevant modules until those modules can be delivered as required. Students will be informed of this during the induction period and appropriately supported so that they can consider all options available to them.
International students should maintain awareness of the UK government's and their home country's government advice on possible travel restrictions. The University will closely monitor advice and guidance published by the UK government and assess its impact on our international students. Appropriate advice and guidance will be provided as and when required.
The University will ensure students who are unable to attend on-campus learning and teaching activities are able to effectively engage with their studies remotely. For certain courses, an inability to attend on-campus learning and teaching activities may not be in the students' best interests, as it may impede their chances of succeeding in the course or lead to them receiving a poor learning experience. In such cases, students will be advised and guided through the various options available to them, such as deferring their studies until they can engage fully with the course.
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