Do you want to gain knowledge and understanding of drama and English and to explore the synergies between them? Are you interested in the theatre but keen to study other literary forms? Then this is the course for you.
It'll provide you with the knowledge, understanding and experience of the theatre as a cultural institution, through the study of drama, literature, dramatic theory and performance practice.
You can study playwriting alongside textual analysis of plays, for instance, or Shakespeare alongside world literatures.
The course is delivered in a dynamic, challenging and supportive environment and students benefit from their own dedicated studio and rehearsal facilities as well as from Kingston's proximity to some of the world's great theatres.
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.
The Drama and English course is an ideal choice if you're interested in the theatre but want to study other literary forms.
You'll learn about the theatre as a cultural institution, through the study of drama, literature, dramatic theory and performance practice.
You'll explore the history, theory, criticism and practice of theatre-making and literature. For instance, you can study playwriting alongside textual analysis of plays, or Shakespeare alongside world literatures.
Each level is made up of four modules each worth 30 credit points. Typically, a student must complete 120 credits at each level.
The main themes of the course: the history and practice of theatre-making and writing in the global city, are introduced in Year 1, enabling you to identify and understand the focus that will characterise your learning throughout the degree.
This module is a core requirement for all Drama students at Level 4 and runs throughout the academic year. It operates and is assessed in conjunction with DA4002 Making Theatre Happen and is supported by a small group tutorial system. The module introduces students to significant approaches and research methods associated with the study of theatre history. The course will draw on students' previous and current studies of performance texts and styles to investigate how we make theatre history, what evidence we draw upon, and what implications these histories have for our current performance making In the first part of the module students will increase their knowledge and understanding by investigating key periods in Western theatre history including the English renaissance, the popular Victorian stage, modernism and the post-war theatre of the absurd. In a series of tutor led seminar/workshops, the students will consider the historical contexts that gave rise to changing conceptions of dramatic character, dialogue and action. Particular attention will be given to the material conditions in which theatre artists worked and the relationship between the theatre and the culture at large in any given period. In the latter part of the module students will apply their knowledge and research skills in a student-led, staff-supervised project utilising skills acquired in DA4002 Making Theatre Happen.
This module is a core requirement for all drama students at Level 4 and runs throughout the academic year. It operates and is assessed in conjunction with DA4001 Staging Histories. The module introduces students to significant skills, vocabularies and methods associated with creating performance and explores ways in which these may be applied within a range of dramatic and theatrical contexts. The main features of this module are the study and practice of key elements of performance such as the use of space, time, force (or energy); body and voice; play; interpersonal interaction onstage and off; performance structure and dynamics; and the creation of dramatic meaning and theatrical effect. In the first part of the module students participate in a variety of tutor-led exercises designed to increase their understanding and skills in these areas. These are drawn from methodologies and techniques developed by 20th and 21st century practitioner-theorists such as Anne Bogart; Rudolph Laban, Jacques Lecoq and Augusto Boal. They are also introduced to the basic principles of theatre lighting and sound. In the second part of the module they apply what they have learned in a student-led, staff-supervised project based around material studied in DA4001 Staging Histories.
This module introduces you to the literature of London, from the rise of Renaissance theatre culture to its fictional futures, and from explorations of its urban heart to its sprawling suburbs. You will investigate how numerous writers have depicted everyday life in the metropolis, as well as social upheaval, crime and injustice. You will consider the emergence of distinct literary cultures in the capital, the ways London's position at the centre of a global empire has shaped its literature, and how writers have in turn represented the experiences of particular groups, for example, social elites, immigrants, women, and children.
The module will also introduce you to some of the most fundamental categories of literature. The module will be organised into three strands: one on drama, one on poetry, and one on prose (fiction and non-fiction). In each strand you will identify the distinctive characteristics of particular forms and genres of literature, and of modes of writing that developed at particular historical moments. Through close study of a range of literary texts we will consider, for instance, what distinguishes tragedy, comedy and realism in drama, how poets have engaged with the sonnet form or the epic, what defines the memoir, and how to explain the differences in narrative style between realist and modernist fiction.
Our weekly interactive lectures will be complemented by study trips to locations across London, which may include a visit to the Globe Theatre, the London Museum or a walking lecture following the route taken by Mrs Dalloway in Virginia Woolf's novel of the same name.
Why are our reading practices so dominated by British writers? What happens if you turn the world map upside down? This module introduces literatures written in places other than Great Britain and considers the links between literature and the formation of cultural, national and racial identities. We will also think about how literature can act as a mode of resistance to imperialist ideologies. In doing so, we will broaden our understanding of what constitutes 'English' literature.
The module begins with a series of lectures discussing relevant conceptual frameworks; you will be asked to consider how texts function within discursive and ideological contexts, largely through a postcolonial framework. Following this introduction, you will study consecutively three areas of geographical focus in detail, such as nineteenth-century American literature, Irish literature, Latin American writing, Caribbean literature, contemporary American fiction, African writing.
As you progress, you'll come to a fuller understanding of the relationships between various practices of writing and authorship, and the London theatre scene in its myriad contexts. In Year 2 the two core modules approach contemporary writing and the stage from historical, critical and practical perspectives, but with a distinctly and London-based focus.
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.
This module is an optional period module at Level 5. It will begin by exploring literature published from the 1930s through to the present day, and will examine the strategies writers have used in response to a changing Britain and wider world. We will consider how twentieth and twenty-first-century texts adapt realist, modernist and postmodern techniques to engage with issues such as the rise of mass culture, the threat of totalitarianism, the establishment of the Welfare State, post-war immigration, and sexual liberation. To enhance your perspective on these issues, you will be introduced to non-fiction material by other contemporary writers, such as J.B. Priestley, Erich Fromm, Iris Murdoch, Ludwig Wittgenstein, Richard Hoggart, and George Lamming, as well as more recent critical and theoretical material. The module also examines the development and continuing popularity of realist drama in the twentieth century. We will pay particular attention to the ways in which realist drama is used as a tool of social and political examination in the various contexts of pre-Revolutionary Russia, Dublin in the aftermath of the First World War, and the establishment of the welfare state in Britain after 1945. Secondly, we will examine the developments in non-realist forms of drama and the experiments which gave rise to what is, somewhat controversially, called the 'Theatre of the Absurd'. The module culminates with the study of a selection of texts chosen to illustrate the great variety of genres and styles in contemporary British literature and to exemplify literature written by different nationalities and social groups. Underpinned by relevant theoretical perspectives, questions will be raised about the relation between literature and contemporary events, with relation to issues pertinent to literature, such as social mobility, hybridity, democracy and technology. In recent years, authors studied have included Evelyn Waugh, Graham Greene, George Orwell, Sylvia Plath, Harold Pinter, Alan Hollinghurst, and Zadie Smith.
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.
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.
This module is an optional period module at Level 5. We will study key texts from the nineteenth to early twentieth centuries that register the ways in which Britain is transformed by the Industrial Revolution, and which give expression to fears about technology, social mobility and urban culture. We will consider literature of the period that questions and resists established theories of gendered identity, and which challenges the literary representation of sexuality, defying censorship in the process. We will be introduced to writers who engage with contemporary debates about science, religion, the empire, and racial and national identity. And we will encounter a range of consciously modern texts which dislocate and make new the reader's experience by technical innovation and experiment. In recent years, writers studied have included Charlotte Bronte, Charles Dickens, Thomas Hardy, George Eliot, T.S. Eliot, James Joyce, and Virginia Woolf.
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 and 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 to consider carefully the perspectives and approaches of theatre designers and technicians whilst discovering effective ways in which to collaborate with the production team.
What does literature do? How does it shape individual and cultural identities? In what ways does it produce affects, construct otherness and celebrate difference? Studying a range of influential approaches to literature, this module will examine key ideas concerning the creation and interpretation of texts, from the role of language, history and cultural difference to the effects of sexuality, the unconscious, empire and technology. By applying these insights to one important genre of fiction - to works like Frankenstein, Dracula, The Beetle, Rebecca and World War Z - the module will extend practical analytical skills while introducing exciting new ways of thinking about texts.
In your final year, you'll choose from a range of option modules, allowing you to follow your own fields of interest in both Drama and English. You'll also have opportunities to contribute to public performances, either in an acting capacity or "behind the scenes," via our links with The Rose Theatre in Kingston.
This module is an option for all level 6 Drama students. It builds on students' learning in the core Level 5 module DA5004, Modernism and the Stage and, in reflecting on the breakdown of boundaries between different theatre and performance forms in the late 20th century, draws together learning from a wide range of other modules. Its focus is on avant garde conceptions of performance and how these have altered and developed from the mid twentieth century to the present day. A key concept is that of the movement from 'acting' to 'performance'. The module begins with key influences from late Modernism, such as Brecht's Alienation Effect and the Theatre of the Absurd, then moves on to explore the variety of ways in which late 20th and early 21st century avant garde practice has responded to and challenged thinking about theatre and performance. Postmodern cultural theory and Hans Thies Lehman's notion of the 'postdramatic', provide the context for studies of a range of performance practices which might include the experimental approaches to textual interpretation of companies such as the Wooster Group, site-specific and autobiographical performance, and live art. The module mixes practice with theory, allowing students to apply the principles underpinning work by significant innovators to their own creative practice.
Salman Rushdie, Mary Wollstonecraft, Geoffrey Chaucer, Audre Lorde, Charlotte Bronte, Chinua Achebe, Mary Shelley, John Milton, Lawrence Sterne, Gertrude Stein, James Baldwin, Toni Morrison...the list is endless. At every point in literary history there are writers who break the mould and challenge the status quo. Whether it is through writing epics that endure through centuries, addressing the injustices of the time or challenging the very notion of what a novel, poem or a play can do, writers can be radical in a number of exciting ways. This module looks at works by radical writers in depth, studying one famous text in detail by a range of writers from different time periods and taught by lecturers who are experts in these writers. We will look at the context of each text as well as the way the text is written, determining why these radical writers have been so successful and looking at the effects their texts have had on the world around them. We will look at the idea of the literary 'canon', made up of writers who have been radical in some way, and consider the way that this idea can be challenged, reinvigorated or refreshed.
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.
The dissertation is a core module for all full-field literature students. Under guidance from an allocated specialist member of staff, and supported by interactive workshops, you will produce a sustained piece of research, either in the form of a traditional 10,000 word dissertation or alternatively in the form of creative project and accompanying 3000 word rationale. The module culminates in a student conference, which you will work with your peers to organise, and which your contribution to will also be assessed. An initial dissertation proposal must be submitted in September before the module begins. At the end of the module you will have produced a critically engaged and fully developed piece of independent research.
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.
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.
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 module examines the rich and dynamic presence of British black and Asian writing from the mid-17th century to the present. Exploring the ways in which black and Asian writing has contributed to definitions of Britishness for more than 300 years, it examines how black writers have produced formally innovative and conceptually challenging responses to questions of race, class, gender and identity, while simultaneously making significant creative contributions to the fields of drama, prose, poetry, and life-writing. In the first half of the module, you will study a range of early British texts from the mid-17th century to the 19th century from writers such as Equiano and Mary Seacole, alongside contemporary works which have reflected on the black cultural presence in Britain during this period, while the second half of the module turns to 20th century and contemporary texts by writers such as Zadie Smith. Andrea Levy, Monica Ali, Hanif Kureishi, Meera Syal, Gautam Malkani, Leila Aboulela, Jackie Kay and John Agard, contextualised by appropriate critical and cultural theories from thinkers such as Paul Gilroy and Stuart Hall. The module is assessed by a flexible assessment strategy which allows you to respond to the module through a combination of critical essay, performance and/or creative writing, and discussion posts documenting engagement and critical response.
This optional Level 6 module allows you to pursue Shakespeare studies at an advanced level and is founded upon a detailed and extensive study of the writer and his works. Consideration will be given to a range of critical approaches to Shakespeare as well as the long history and dynamic status of Shakespeare in performance and adaptation, for example in relation to questions of gender, identity and globalisation. You will be encouraged to reflect upon the role of Shakespeare in culture now as well as relevant contemporary contexts such as the nature of early modern theatregoing alongside crucial political and religious conditions. Teaching on the module will be closely aligned with the rich resources available at the Rose Theatre and in particular will afford you the opportunity to participate in the stimulating series of talks and events organised as part of the Kingston Shakespeare Seminar (KiSS).
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.
112 UCAS points from 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).
UCAS tariff points: 112
A-levels (or equivalent) in Drama and Theatre Studies, English Language/Literature or Performing and Production Arts.
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
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.
Timetabled teaching and learning on this course includes acting technique classes and workshops, practical performances, rehearsal lectures, small group tutorials, seminars, and group work.
Assessment typically comprises exams (eg test or exam), practical (eg presentations, performance) and coursework (eg essays, reports, self-assessment, portfolios and dissertation). The approximate percentage for how you will be assessed on this course is as follows, though depends to some extent on the optional modules you choose:
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 be taught by a number of 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 English staff are active researchers and writers and many have been published. Their areas of interest are wide-ranging and include identity, protest, political writing, and experimental form, and on the relationship between literature and literary theory.
They also teach popular literatures like detective fiction, romance, children's literature and science fiction.
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 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.
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.
Drama and English 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 and English Literature, 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 writing is valued. We have industry links with publishers, theatre professionals and literary agents, as well as working writers in a variety of fields.
As a student on this course you will be part of the Writers' Centre Kingston, a vibrant community of outstanding authors, journalists and publishers.
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 interest, 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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