To follow

Over the module there are a series of practical sessions, primarily in the first term, where we will cover pre-production strategies, how to shape a narrative, use of the Canon C200 cameras and working with light and sound. Equipment is booked from the pool of kit we share with Film and TV and students are encouraged to adopt strong organisational skills to maximise their use of the resources required. The module has access to fast shared storage space on which to store the large files generated in shooting and which facilitates working on any edit machine. We have six seats of Adobe Creative Cloud and instruction is given on the use of Premiere Pro for Editing, After Effects for Motion Graphics and Audition for audio work.
No prior experience is assumed or expected, though if you’ve been making videos for years then that becomes a contribution towards the group, sitting alongside the commitment and creativity you would expect from others.
We assess the work according to the following criteria. For the first film
a) technical proficiency in shooting and editing the work – if we can’t hear the dialogue or see what you are trying to show us then we have a problem
b) interpretation of the source material – John will give an overview of this in a moment
c) strength of the screened work – the piece stands or falls by what you leave on the screen.
For the final project the criteria are broadly similar
a) technical proficiency in shooting and editing the work
b) strength of the proposal and development over the project
c) strength of the screened work
d) contribution to the group
Please feel free to contact me if you have any questions. Two perennial ones are:
Can I use my own camera and/or editing software?
We do not insist that you use the Canon C200 or Premiere Pro but these are the tools for which we provide instruction to the whole group and to which the whole group has access. Past instances have made us wary of having a gatekeeper being the single point of failure in a group exercise.
How long does my video need to be?
There are multiple reasons why we set an assignment rather than a duration, not least so that the former takes precedence over the latter. We have always stepped back from being overly prescriptive in terms of expected length - size of group, nature of project (eg animation vs documentary) and other variables all conspire to make the imposition of a fixed duration caveated with exceptions. Having said that, five minutes would in most cases be a lower guideline and 10 minutes at the upper end. We have had good 15 minute submissions that would have been great 10 minute submissions and, whilst we wouldn't assume that anyone is incapable of sustaining a piece longer than 10 minutes, they also have to sustain a whole raft of other modules so a reasonable upper limit is as much to constrain the evident enthusiasm we often see and ensure that it is sprinkled equally across all other assignments.

And now over to John to introduce the first project. Once class lists have been determined we will be circulating source materials and further guidelines.

The behaviour of politicians and the rituals and procedures of both the institutional structures of democratic politics (like governments, parliaments, and courts) and forms of political activism (from lobbying to protest demonstrations, riots, and terrorist acts) are often described as ‘theatre-like’ in that they appear to be stage-managed, performed, and directed at audiences. Does this mean that there is something ‘special’ about the relationship between politics and theatre? What does it mean to interpret contemporary politics through the lens of performance? The module will explore different ways in which theatre/performance and politics have been linked by introducing students to interdisciplinary scholarship developed in theatre/performance studies, philosophy, and political science.

The module will explore:

- Performances by politicians and political institutions as well as their potential function in democratic politics. Questions include: Do politicians’ performances distract from policy or do they play an important role in the political process? What is the relationship between such performances and the concept of political representation?

- Different forms of political activism, their aims, and strategies: ranging from political pressure groups to theatrical and avant-garde activism. Questions include: How do forms of activism proceed performatively and theatrically? How do their aims align with their strategies?

- The contested relationship between politics and theatre. Different perspectives on the political potential and efficacy of theatre and performance art will be examined. Questions include: If politics is theatrical, is the theatre then uniquely placed to speak back to institutional politics? What happens to forms of activism when they are represented on the theatre stage?

For the final essay (75% of the mark for the module), students will have the opportunity to choose a topic and an approach that interests them, and to develop their essay plans in a 1-1 discussion with the module leader before writing the essay.

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

The module aims to introduce you to principles, practices and practicalities in running arts venues; conceiving programmes of work for venues or festivals; ‘making it’ as a new company or artist; marketing and audience development; commissioning and producing new work; funding the arts, the Arts Council and its priorities; and creative learning, education and outreach.

Through this module you’ll become familiar with a wide-range of venues, organisations, companies, artists and individuals working in the UK today, understanding what each is best-known for. Your understanding will be enhanced through a series of weekly assessed presentations presented by yourself and your peers. These presentations will also engage you with current issues within the industry, encouraging you to have your finger on the pulse of trends and debates, such as: the future of the arts in Europe after Brexit; diversity and ‘relevance’; climate change and sustainability; and performing online and digital theatre.

Weekly sessions will be led by the convenor, often alongside industry professionals in-person or online, allowing you to understand each topic first-hand and to develop your professional network. These industry experts will include producers, directors, company managers, festival programmers and so on, enabling you to see the breadth of roles that make theatre happen and to open your eyes to possible career options within the industry. Thus, the module aims to help you to locate possible places for your future self within the industry’s ecology. Each industry professional will talk to you about their area of work, as well as setting in-class problem-based tasks, to provide an opportunity for you to try out authentic activities from the workplace.

The module aims to engage you with industry-focussed readings and conversations, such as policy documents (Arts Council; Department for Digital, Culture, Media and Sport), venue and company strategies and annual reports, industry news publications (The Stage and Arts Professional), through Devoted and Disgruntled, and on Twitter.

ASSESSMENT DETAILS

40% - In the News or In the Spotlight: A Case Study
You’ll work in a pair or a small group to present for 10 minutes in-class on either a topic that is ‘In the News’ that is relevant to the module or an ‘In the Spotlight’ case study. The presentation should be delivered as if for a professional industry audience, which you may wish to specify (for example, as if being presented to a room of programmers or funders).

‘In the News’ could relate to a story in the national or industry press about an issue or incident that has taken place recently or a significant announcement: a new show/ a new venue/ a new artistic director etc. The presentation should capture the issue at hand and refer to authoritative voices in the industry relating to that subject. You should understand the issue, have a perspective on it and provide an industry context to it (such as the venue it relates to etc). You should use the case study to present your own stance on the issue or incident and perhaps propose ways forward, if relevant.

‘In the Spotlight’ puts a spotlight on a recent show, an individual, or an organisation within the industry. You should consider why you’re spotlighting this and emphasise why you believe it’s important for your audience to know about this. You should refer to industry texts – perhaps reviews or newspaper articles. You should think about how whatever you have spotlighted influences the industry, your own practice or both.

60% - Industry Project
You should produce a personal project relating to an area of the industry that you’d like to explore further. This could be a funding application, such as for a creative learning project; a concept or business plan for a new festival, venue or theatre company; an outline of a programme for a festival or a venue; a new strategy for Front of House and Operations for a venue; an application to be a part of a festival or City of Culture; a marketing campaign for a specific show; a national or international tour plan for a show etc. This should be approximately 3500 words, or equivalent, as the format and mode of presentation might differ. If you’re in your final year, you’ll also need to provide a 300-word executive summary of the project.

The module will enable students to gain valuable experience in a professional context and setting. It will enable an understanding of the pressures, requirements, workflow and practices of a specific activity or set of activities within a professional arts/culture setting; and an understanding of the wider operation and activity of the artist/company/organisation in question. It will entail the completion of specific work, identified in advance, within the placement; and thereby an understanding of how such work sits within wider contexts and can be carried out to good effect. It will allow for focused work on a project of immediate personal interest; and enable students to understand how they can interface with other professionals in the creative industries to the benefit of their personal development and career trajectory.

Placements will be undertaken within the terms of the University’s guidance concerning placement learning: https://warwick.ac.uk/services/aro/dar/quality/categories/placementlearning

From the visions of Artaud, the Futurist banquets, the spaces of Environmental Theatre and Installation Art, the freedoms of Happenings and other antecedents we begin by considering an aesthetics of Immersive Theatre alongside a range of recent examples. Next, acknowledging that the immersive is not simply an over-abundance of phenomena but, as Jean Arthur Rimbaud has it, “a systematic derangement of the senses”, we augment our understanding of the public senses of sight and hearing with those attuned to more intimate encounters - touch, taste and smell (as well a few more that - and the possibilities and limitations of utilising these within performance.

As the potential to error-check what we are encountering against a stable reality is often denied in immersive practices - suspended, we cannot know where we stand - the following session takes a technological turn, interrogating the notion of mixed reality through consideration of different blendings of the virtual and that, which perhaps only by juxtaposition we might nominate 'the real'.

There then follows a moment of reflection, a stepping back, in which the politics of extending or accepting an invitation to forego critical distance is explored; do immersive practices expose us to ethical dilemmas, leave us vulnerable to exploitation and manipulation.

The concluding taught session is games day, imposing the predetermined or emergent bounds of games and play on situations fictitious or real, or some amalgam of both. Finite and infinite games, pervasive games and the harnessing of play are refracted across a multitude of environments, sometimes flitting between virtual and real spaces.

Running parallel with the taught sessions are workshops that explore the themes and introduce students to practices and digital tools that they might use in realisation of the first assessment, worth 50% of the mark. Following submission of a proposal and the ensuing feedback, you will develop and subsequently present a work that is informed by the immersive practices and ideas explored on the module. This breadth of forms - theatre work, installation, sound piece, virtual environment, site responsive work - is such that responses might well range from solo works through to larger groups though the scope of the work would be expected to scale with the size of the group. The extended period of development is such that you are encouraged to make ambitious use of the resources at your disposal and to set the terms of the presentation - the studios are provided as a resource but should not necessarily predetermine the nature or location of your presentation.

The final assessment, again worth 50%, comprises a critical review of 2500 words that includes a brief account of the work your notion of immersive and how this is expressed in the presentation, your role in the realisation of presentation and the ways by which it might be further developed.

Exploring the histories of applied theatre and the varied geographical contexts in which practice occurs, in the autumn term this module will introduce you to some of the ways in which theatre is applied to meet a range of objectives which may pertain to global development, education, health and wellbeing, and more. In the spring term, you will then move beyond these initial explorations to plan and implement your own applied theatre project.

The contexts and practices of applied theatre are continually shifting, therefore in this module you will engage with both the fluidity of practice and the dominant and emergent debates that are shaping research and practice, including the ethics of intervention, sustainability and issues around instrumentalising theatre to achieve social and educative outcomes.

You will engage in ongoing personal reflection throughout the module, considering how the theories and projects engaged with could shape your future work in the field. We will learn together through a combination of lectures, seminars and practical workshops, where our focus will be on the interplay between theory and practice.

Your learning will be consolidated through the assessment methods. In the autumn term you will need to produce a reflective portfolio (50% of the overall mark). Your portfolio will need to contain three elements:

- Reflections on sessions you have participated in - Analysis of a case study

- A written project pitch

In the spring term you will be supported to work in groups to develop and deliver an applied theatre project. This could take a range of forms – for example, you could devise a piece of Theatre in Education, develop a workshop for a school, work within a particular community context to devise a performance with a group, create a training session that utilises applied theatre methodologies.

Exploring the histories of applied theatre and the varied geographical contexts in which practice occurs, this module aims to introduce you to some of the ways in which theatre is applied to meet a range of objectives which may pertain to global development, education, health and wellbeing, and more.

The contexts and practices of applied theatre are continually shifting, therefore in this module you will engage with both the fluidity of practice and the dominant and emergent debates that are shaping research and practice, including the ethics of intervention, sustainability and issues around instrumentalising theatre to achieve social and educative outcomes.

You will engage in ongoing personal reflection throughout the module, considering how the theories and projects engaged with could shape your future work in the field. We will learn together through a combination of lectures, seminars and practical workshops, where our focus will be on the interplay between theory and practice.

Your learning will be consolidated through the assessment method - a reflective portfolio. Your portfolio will need to contain three elements:

- Reflections on sessions you have participated in - Analysis of a case study A written project pitch

Debra Cardona-DePeahul, Dramaturg at Classical Theatre of Harlem, exclaims:

‘A dramaturg has the opportunity (and the absolute pleasure) of looking at a story for the theater from conception, through production, and even reflect upon it after the production is done, and present all those facets to the world. How cool is that?’

 

But, what is dramaturgy?

DRAMATURGY in not easy to define, but to begin to answer the question, maybe we can turn to the words of professional dramaturgs:

Dramaturgy is the action through which meaning is created by the recognition and arrangement of patterns. — Katalin Trencsényi

Dramaturgy is always concerned with the conversion of feeling into knowledge and vice versa. It is the twilight zone between art and science. Dramaturgy involves everything, is to be found in everything, and is hard to pin down. — Marianne Van Kerkhoven

Dramaturgy is the exploration of stories and how they are told in the theater. — Brian Quirt

Hmmm. These definitions aren’t very helpful, are they? Perhaps we should ask: what does a dramaturg do?

A hint from Chekhov —

Nina: Your play’s hard to act, there are no living people in it.

Treplev: Living people! We should show life neither as it is nor as it ought to be, but as we see it in our dreams.

Nina: There’s not much action, it’s just a lot of speeches. I think a play really needs a love interest. (The Seagull)

Chekhov’s characters poignantly argue about key aspects of dramaturgical analysis: form, content, action, character and theme. How do we transform a play on the page into a script for the stage? What is the background research needed to enrich the performance? How do we shape a story for live performance through a range of theatrical languages including words, movement, sound, site, imagery and multi-media? And how do we communicate insights from the production team’s research and critical analysis to the audience? We will explore how the dramaturg can help theatre practitioners answer these questions of dramaturgical analysis.

So specifically what will we do in Dramaturgy?

In this hands-on class, we will practice being a dramaturg. We will learn how to communicate an understanding of the play in its context both within the production process and for audiences. We will experiment with many of the tasks that a dramaturg does through formative assessments and in-class presentations using writing, research, critical analysis, art, and imagination as well as through the summative assessment based on skills practiced throughout the term. And we will become accomplished in critiquing dramaturgical work.

In particular, we will improve our skills in:

1. analysis and exploration of play text (dramatic structure, character, language, theme, etc.)
2. background dramaturgical research on the special world of the play (historical, socio-political, religious, economic context)
3. writing for production teams and for audiences (diagrammatic scene breakdowns, character webs, image boards, study guides and more)

Dramaturgy will focus on six plays by American playwrights of color.

ASSESSMENT:

Dramaturgical Project: Study Guide 100%

This project-based assessment takes the form of a Study Guide (or Educational Packet) for British university students on ONE contemporary American play (plays to be determined later). The Study Guide will consist of text, diagrams, and images, and it must have a coherent focus and visual layout. You may work alone or with one other student. If you work alone, the Study Guide should be the equivalent of 4,500 words plus images. If you work in a pair, the Study Guide should be 9,000 words, plus images.

The Study Guide will have the following sections:

Ø Front cover with visual image/collage, title of play and author

Ø Table of contents (and page numbers).

Ø Brief plot summary

Ø Author biography focusing on biographical information particularly relevant to the play

Ø Play analysis in written and visual forms. The Play Analysis consists of the following parts:

§ Analysis of dramatic structure (textual or diagrammatic)

§ Character breakdown/description. (Diagrammatic character web or written character descriptions), plus 5-7 images if necessary. Be sure to include any necessary historical or mythic information, if applicable.

§ Themes/ideas (text summarizing key themes and one image board with description)

Ø Background dramaturgical research on the socio-political, historical, ethical, religious, economic, mythical and/or metaphoric world of the play The background dramaturgical research can also include:

§ Glossary of unfamiliar terms with 5-7 images (if applicable).

§ Excerpts from primary sources (if applicable).

Ø Questions and activities for students.

 

SUPPLEMENTAL READING:

Books

Londré, Felicia Hardison. 2006. Words at Play: Creative Writing and Dramaturgy.

University of Southern Illinois Press.

Luckhurst, Mary. 2009. Dramaturgy: A Revolution in Theatre. Cambridge University

Press.

Jonas, Susan, Goeff Proehl, and Michael Lupu. 1996. Dramaturgy in American

Theater: A Source Book. Wadsworth Publishing Co, Inc.

Romanska, Magda, ed. (2016) The Routledge Companion to Dramaturgy. Routledge.

Turner, Cathy and Synne Behrndt. 2016. Dramaturgy and Performance. 2^nd ed. Red

Globe Press.

Trencsényi, Katalin (2015) Dramaturgy in the Making: A User’s Guide for Theatre

Practitioners. Bloomsbury Methuen Drama.

Trencsényi, Katalin and Bernadette Cochrane (2014) New Dramaturgies:

International Perspectives on Theory and Practice. Bloomsbury Methuen

Drama.

 

Journals:

Contemporary Theatre Review 20.2 May 2010. ‘New Dramaturgies’.

Performance Research 14. 3. 2009. ‘On Dramaturgy’.

Theatre Topics 13.1. March 2003. ‘Dramaturgy Special Issue’.

The module aims to explore this new, wide-ranging interest in love by looking into the ways in which the twentieth and twenty-first century artists have dealt with the subject of love as material for their work (e.g. Ibsen, Strindberg, Pinter, Fosse, Martinic, Haneke), while investigating a wide range of theories that explore changing ideologies, representations and practices related to the subject (Freud, Butler, Halperin, Berlant, Carson, and others).

Illustrative list of artworks studied on the module (subject to change):

Plays and performances:

August Strindberg, Miss Julie, trans. by Michael Meyer (London: Methuen, 2006).

Harold Pinter, Betrayal (Bloomsbury, [1978] 2014). [E-book]

Henrik Ibsen, The Wild Duck, a new adaptation by Robert Icke (London: Oberon Books, 2018).

Bashar Murkus, The Year of Snow, Trans. Katharine Halls (Haifa, Khashabi Theatre, 2015). [play script to be provided by the instructor]

Duncan Macmillan, Lungs (London: Oberon Books, 2011).

Dries Verhoeven’s performance Wanna Play? (Love in the time of Grindr), 2014. See: http://driesverhoeven.com/en/project/wanna-play/

Fosse, Jon. Nightsongs, 1998.

Ivor Martinic, My Son Just Walks a Bit Slower, 2016 (an unpublished play script, provided by the instructor)

Films:

Luca Guadagnino’s film Call Me by Your Name (2017)

Robin Campillo’s 120 BPM (beats per minute)

Abdellatif Kechiche’s Blue Is the Warmest Colour (2013)

How I Felt When I Saw That Girl (Ek Ladki Ko Dekha Toh Aisa Laga, 2019), a Bollywood film directed by Shelly Chopra Dhar

Michael Haneke, The Piano Teacher (2001).

Liliana Cavani’s The Night Porter (1974)

In 1968, the year of revolt, theorist Roland Barthes famously proclaimed the ‘Death of the Author.’ He has put to rest the notion of the author as originator/ God and placed the reader central stage. This module takes Barthes’s provocation as a point of departure to explore authorial presence and absence on various levels of text and performance from its aesthetic aspects to its political dimensions. Text, as well as performance, consists of multiple writings and potential embodiments, ‘issuing from several cultures and entering into a dialogues with one another, into parody, into contestation; but there is only one place where this multiplicity is collected, united, and in this place is not the author […], but the reader’(Barthes). The aim of this module is to investigate how ‘the reader’ (as also the spectator/participant) constructs ‘the author’? Why is the construction of an ‘author’ in the reception process, and even within some participatory forms, important? How is the author constructed through imaginaries and re-imaginings, over-writings and mutations, repetitions and archiving, fictionalisations and theatricalisations? How is the authorial figure fashioned and constructed through self-referentiality and dramatic irony? How does the figure of the author appear as an intertextual and intertheatrical reference? How is the author/predecessor ghosted within texts and various kinds of performance practices?

The return to the question ‘Who is/was an author?’ is also to understand the multiple possibilities and limitations of the term along the lines of gender, ethnicity, class, and politics—not so much of authorship—but of the author as an accountable figure both self-fashioned and shaped through public imagination:

• How does the proclamation of the death of the author decentre those subjects that have historically never occupied the centre, who have historically been marginalised?

• What are the ethical implications of authorial presence/ absence?

• What/ where is authorial accountability if the subjectivity of the author is irrelevant?

• How do different kinds of authorial deaths destabilise the political dimensions of this concept (i.e. censorship, erasure)?

In order to grapple with these questions we will look at a range of works from Pirandello’s Six Characters in Search of the Author and Tim Crouch’s controversial play The Author to postcolonial works such as Amie Cesare’s A Tempest that speak back to the canonical author; from Marina Carr’s biographical play about Chekhov 16 Possible Glimpses to Dead Centre’s deconstructive Chekhov’s First Play and Polly Teal’s feminist intervention in her play Bronte; from Marina Abramovic’s exploration of presence in the performance piece The Artist is Present to absence and censorship in the performances of artist/activists such as Wei Wei.

Our questions will be approached through a combination of close text/performance analysis, critical theory, discussion as well as practical workshop. In our learning approach, as well as in the assessment, we will combine written/discursive academic work ( e.g. the portfolio) and creative practice ( e.g. the performance exam)as a research tool and as a means of responding to some of the issues that will be raised in the module.

The module aims to introduce you to principles, practices and practicalities in running arts venues; conceiving programmes of work for venues or festivals; ‘making it’ as a new company or artist; marketing and audience development; commissioning and producing new work; funding the arts, the Arts Council and its priorities; and creative learning, education and outreach.

Through this module you’ll become familiar with a wide-range of venues, organisations, companies, artists and individuals working in the UK today, understanding what each is best-known for. Your understanding will be enhanced through a series of weekly assessed presentations presented by yourself and your peers. These presentations will also engage you with current issues within the industry, encouraging you to have your finger on the pulse of trends and debates, such as: the future of the arts in Europe after Brexit; diversity and ‘relevance’; climate change and sustainability; and performing online and digital theatre.

Weekly sessions will be led by the convenor, often alongside industry professionals in-person or online, allowing you to understand each topic first-hand and to develop your professional network. These industry experts will include producers, directors, company managers, festival programmers and so on, enabling you to see the breadth of roles that make theatre happen and to open your eyes to possible career options within the industry. Thus, the module aims to help you to locate possible places for your future self within the industry’s ecology. Each industry professional will talk to you about their area of work, as well as setting in-class problem-based tasks, to provide an opportunity for you to try out authentic activities from the workplace.

The module aims to engage you with industry-focussed readings and conversations, such as policy documents (Arts Council; Department for Digital, Culture, Media and Sport), venue and company strategies and annual reports, industry news publications (The Stage and Arts Professional), through Devoted and Disgruntled, and on Twitter.

ASSESSMENT DETAILS

40% - In the News or In the Spotlight: A Case Study

You’ll work in a pair or a small group to present for 10 minutes in-class on either a topic that is ‘In the News’ that is relevant to the module or an ‘In the Spotlight’ case study. The presentation should be delivered as if for a professional industry audience, which you may wish to specify (for example, as if being presented to a room of programmers or funders).

‘In the News’ could relate to a story in the national or industry press about an issue or incident that has taken place recently or a significant announcement: a new show/ a new venue/ a new artistic director etc. The presentation should capture the issue at hand and refer to authoritative voices in the industry relating to that subject. You should understand the issue, have a perspective on it and provide an industry context to it (such as the venue it relates to etc). You should use the case study to present your own stance on the issue or incident and perhaps propose ways forward, if relevant.

‘In the Spotlight’ puts a spotlight on a recent show, an individual, or an organisation within the industry. You should consider why you’re spotlighting this and emphasise why you believe it’s important for your audience to know about this. You should refer to industry texts – perhaps reviews or newspaper articles. You should think about how whatever you have spotlighted influences the industry, your own practice or both.

60% - Industry Project

You should produce a personal project relating to an area of the industry that you’d like to explore further. This could be a funding application, such as for a creative learning project; a concept or business plan for a new festival, venue or theatre company; an outline of a programme for a festival or a venue; a new strategy for Front of House and Operations for a venue; an application to be a part of a festival or City of Culture; a marketing campaign for a specific show; a national or international tour plan for a show etc. This should be approximately 3500 words, or equivalent, as the format and mode of presentation might differ. If you’re in your final year, you’ll also need to provide a 300-word executive summary of the project.

The module will enable students to gain valuable experience in a professional context and setting. It will enable an understanding of the pressures, requirements, workflow and practices of a specific activity or set of activities within a professional arts/culture setting; and an understanding of the wider operation and activity of the artist/company/organisation in question. It will entail the completion of specific work, identified in advance, within the placement; and thereby an understanding of how such work sits within wider contexts and can be carried out to good effect. It will allow for focused work on a project of immediate personal interest; and enable students to understand how they can interface with other professionals in the creative industries to the benefit of their personal development and career trajectory.

Placements will be undertaken within the terms of the University’s guidance concerning placement learning: https://warwick.ac.uk/services/aro/dar/quality/categories/placementlearning