Information for home, EU, and non-EU students.
For those interested in using theatre in community and education settings or with people whose lives have been affected by the criminal justice system. This course encourages investigation into the possibilities and contradictions of applied theatre and drama as transformative and rehabilitative, and engages with a range of theories and practices.
This course provides an opportunity to explore applied theatre via one of two specialist pathways: Drama in the Community and Drama Education or Drama and the Criminal Justice System. Each pathway is designed to support current practice at work, or a particular field of interest in applied theatre and drama.
Students will develop their own practice and scholarship, learn key practices in applied theatre, engage with new ideas in the field, undertake project-based study examining specific professional work with a range of client groups, or specialise in working with people whose lives have been affected by the criminal justice system.
Find out more about how The Leverhulme Trust is providing major funding for the many exciting Applied Theatre student projects in 2017.
This pathway is for individuals wishing to develop current – or new – practice of using theatre and drama with people in a range of settings that may include schools, theatres, outreach departments, hospitals and prisons.
This pathway is for individuals wishing to develop current – or new – practice of using theatre and drama with people whose lives have been affected by the criminal justice system.
During Terms One and Two, students will investigate applied theatre in a variety of contexts, communities and settings. They will explore the field’s diverse practices and engage creatively with the forms and aesthetics of applied theatre, the transformative potential of theatre and the ethics of intervention and notions of inclusive practice when working with specific groups. Units of study will focus on theatre practices that promote inclusion and will address the ways in which theatre can be an agent for change, enablement and transformation while problematising these terms. Students will participate in workshops and seminars to explore practices that make a difference to people by engaging with issues, dramatising relevant stories, representing role models or possibilities for action, and involving participants in processes that they find useful, informative or exciting. This will also develop an understanding of the social and cultural contexts of applied theatre.
For both pathways, study is undertaken through traditional academic means as well as hands-on learning. Learning will be guided by tuition from professional specialists involved in theatre in a variety of community settings, including the academic experience of Central’s renowned applied theatre and drama education tutors. Students will have the opportunity to engage with relevant research methods in their field, usually presenting their work at Central’s annual postgraduate conference.
During Term Three, students may undertake project work (or further placement/professional practice) as part of an assessed unit. On the Drama in the Community and Drama Education pathway, students may work individually, or as part of a small group, on a practical project, which might include an arts residency in a primary or special needs school, a devised play and workshops for refugee children in the UK or abroad, creative playwriting workshops with selected client groups, or a performance and workshop on Bertolt Brecht’s theatre practice for post-16 students in schools and colleges in and around London. On the Drama and the Criminal Justice System pathway, students may work individually, or as part of a small group, on a practical project which might include a residency in a prison or young offenders’ institution, a devised play and workshops with fathers in prison for their children, or creative playwriting workshops with prisoners or ex-prisoners. On both pathways, students will theorise this work, interrogating its relationship within current and seminal discourses in the field.
Term Three may lead to a performance with a specified community, or may be more process orientated. Recent examples of project work include a community radio project in Brazil, a series of workshops with the young platform dwellers of Jaipur station in India, working with students in a hospital school in London, teaching English as a second language through drama with hotel staff in Thailand, working on Shakespeare in performance with a youth theatre, developing a range of theatre activities within a centre for the homeless in London, and introducing drama techniques to a special needs school in Ghana.
Recent examples of work within the criminal justice system have included an arts residency in HMYOI Feltham, a variety of performance-related work at Doncaster Prison working with Second Shot in the areas of restorative justice, Theatre-in-Education (TIE) for those at risk and devising and performing plays for invited audiences.
Students may also work alongside a professional host or in one of Central’s partner placement institutions in the third term, or use their own work-based practice. In addition, students have the option to join one of Central’s many cross-School optional courses.
At the end of the year, students on both pathways consolidate their knowledge and understanding through a Sustained Independent Project (SIP). This is a dissertation about an area of particular interest in Applied Theatre.
Each unit has a written and/or practical assessment and submission of a dissertation addressing the student’s specialist area of interest.
Based in London, Central can offer optional industry support in the first two terms with an extensive choice of placement opportunities selected from the city’s wide array of innovative professional companies. Recent examples include:
Adam Coleman (Lyric Theatre), Anna Herrmann (Clean Break), Esther Baker (Synergy Theatre Project), Jenny Sealey (Graeae Theatre Company), Jonathan Petherbridge (London Bubble Theatre Company), Natalie Mitchell (Almeida Theatre), Pete Higgins (Punchdrunk), Rob Watt (National Theatre), Saul Hewish (Rideout), Deirdre McLaughlin, Lorna Marshall, Samantha Lane (Almeida Theatre) David Farmer, Ned Glasier (Islington Community Theatre), Stella Barnes (Oval House), Cat Jones (Second Shot Productions).
Invitation to interview and admission will be based on the reasonable expectation from your application that you have the potential to complete and contribute positively to the degree and that you would benefit from master’s level study. You will normally have a degree or equivalent qualification in an arts-related subject and/or two years relevant professional experience.
Applicants will normally be able to demonstrate the following:
All students attending placements will be required to complete a Disclosure and Barring Scheme check (DBS). This is a mandatory government safeguarding scheme for all those seeking to work in any capacity with minors or vulnerable adults.
We particularly encourage applications from groups currently under-represented in higher education, such as students with disabilities and members of Black, Asian and Minority Ethnic groups. Find out more information on Central’s commitment to equality and diversity.
Applicants who have up to 60 M Level credits from a related PGCE course are welcome to apply to the Applied Theatre, MA through our Accreditation of Prior Learning (APL) system. If you are a PGCE graduate from Central with 60 M Level credits (i.e. from 2007 onwards), you may apply without using the APL scheme and, subject to your application and availability of places, be accepted onto the MA. Applicants entering the degree programme with 60 M Level credits will, therefore, usually be expected to undertake 120 further credits (i.e. two thirds) of the programme. APL is a process that can, exceptionally, allow a student to join a course at an advanced stage and be given ‘credit' for the section(s) of the course s/he has missed. The student will be deemed to have passed in the missing elements and, if necessary, a mark will be allocated to represent the mark that it is judged that the student might have achieved had s/he taken the assessments. The first stage in making an application for APL is by making a formal application for the course. Further details are available from the Admissions and Student Recruitment Office.
Applicants for whom English is not their first language are required to prove their English language proficiency by gaining an overall score of 7.0 in an IELTS test. We do accept equivalent English language qualifications. Applicants are advised to gain this certification as early as possible.
Application is direct to Central. Entrance is by application and interview. If you are selected for an interview for a place on either pathway, the session will comprise of the following:
Each year Central hosts a number of interviews outside of the UK, with a team of tutors from Central traveling to meet applicants. The international interviews are designed to replicate the London-based interview experience in every aspect (other than a tour of our site). See our Event Finder for listings of upcoming interview locations and dates.
Central does allow applicants to undertake a distance interview for this course. If you live abroad and are unable to attend an interview in person you may, at the discretion of the Admissions Tutor, be offered the opportunity of a distance interview. If you are selected for interview in this manner you will be contacted (normally by email) in order to arrange a suitable time for an interview. This will be conducted on Skype, telephone or by ‘live’ email exchange and will normally be based upon material you will have been asked to submit in advance. The interview will be conducted by the Admissions Tutor in liaison with a colleague who will have sight of your submitted materials.
For further information see the How to Apply section.
View profiles of the academic staff who teach on this course. Click on each staff member to see their CV.
Graduate employment and career pathways include:
Schools Engagement Officer, The Young Vic Theatre.
Assistant Head Teacher, Britannia Village School.
Educational Development Advisor, Dramatic English in Hong Kong.
Applied Theatre Lecturer, FLAME School, India.
New Works/Literary Officer, Graeae Theatre Company.
Drama Facilitator, Applied Theatre Consultants, New Zealand.
Producer, Learning and Participation, English National Opera.
Drama Facilitator, The United Nations.
Head of Education, Clean Break Theatre.
Adviser, Intervention Centre HMYOI Feltham.
Lecturer, Hong Kong Academy of Performing Arts.
Drama Facilitator, Doncaster Prison.
Director, Theatre Digital Sustain.
Notable graduates of this course include:
Carissa Hope Lynch (2009) Deputy Literary Manager at the Royal Court Theatre.
Molly Mullen (2008) Applied Theatre Lecturer at the University of Auckland.
Jamie Wilcox (2011) Youth Theatre Director at The Egyptian Theatre Utah, USA.
Jessica Fisher (2008) Playwright winner of the Nick Darke Award 2010.
Rebecca Boden (2012) is the Director and Drama Facilitator for Unlock Drama, which provides hard-to-reach participants access to drama by offering affordable, innovative and versatile workshops.
Kiel Richardson (2007) Deputy Head at Britannia Village Primary School.
Ali Godfrey (2011) Director at Generation Arts.
(MA Applied Theatre and Drama Education 2012) is the Programme Manager for OYAP Trust, specialising in Youth and Community for the Albany, Deptford. This follows on from her work with OYAP as a Youth Arts Programme Coordinator.
Graduated 2013, freelancing for a number of companies doing community engagement and developing self-awareness and acceptance, including the Old Vic and with communities of refugees and recent arrivals, schools, youth offender institutions and women refugees.
The Drama and the Criminal Justice System pathway allowed space for creative choices, both within research and practice. The placements were most useful, as I observed and facilitated with well established, as well as less known, organisations. Throughout, I received guidance from tutors and this ensured that, as an individual, I remained open to the possibilities and available avenues within the field. Central is recognised globally and the name alone certainly has people within the industry encouraging and supporting the work you do.