General information about applying for our postgraduate courses and the interview process.
The course broadened my knowledge of movement practices, but more importantly helped me to build my own practice, which is crucial. The course also supports those interested in movement to enquire and explore in a creative environment, with a range of people from a variety of backgrounds. This diversity is a rich part of what the course offers.
Graduated 2008, movement director and choreographer, credits include work at the Almeida, Royal Shakespeare Company and the Young Vic.
As an international student, I knew that the MA Movement course would not only introduce me to the global history of movement work, but would also serve as a laboratory; a place where I could investigate and discover my individual approach as a movement practitioner, guided by instructors who work professionally in the industry.
Graduated 2009, Movement Director, Coach and Instructor. Cook has taught at The Birmingham Conservatory and the Randolph College for Performing Arts.
I embraced how practical the course was at getting us all on our feet, moving and facilitating sessions as well as how they sat alongside the more theoretical or written based tasks. The course not only let me explore my developing approach to creating movement and choreography but also gave me a solid foundation in movement pedagogy.
Graduated 2016, Movement Director, Choreographer and Teacher. Credits include: Dear Brutus (Southwark Playhouse) Zoetrope (West Yorkshire Playhouse).
MA, one year, full-time; two years, part-time. October start. MFA, two years, full time, October start. On site attendance between July and September is not mandatory.
Master of Arts in Movement: Directing and Teaching (180 credits); Master of Fine Art in Movement: Directing and Teaching (240 credits).
Central has a long-standing and well recognised reputation for the dissemination of actor movement disciplines within the British theatre scene; these pioneering courses are the first of their kind in Europe.
The MA/MFA Movement: Directing and Teaching programme at Central:
Tradition, experience, eclecticism and innovation epitomise Central’s understanding of movement training for the theatre and these unique courses have been created in that spirit. You will belong to the fine history of movement at Central from Litz Pisk to the present.
You may be an actor or dancer who wants to diversify your skills and knowledge, you may work with actors (a dance or movement teacher, or a theatre director with a movement history), or be a practitioner from an allied field of sport/holistic practice, wanting to enhance your understanding of practical/theoretical interfaces regarding movement in contemporary performance.
You will be offered specialist, vocational teaching in the field of movement for actors, production practice for movement directors and bespoke movement placements at Central and in other professional theatre settings, such as other conservatoires or theatre, opera, or film organisations (both in Britain and internationally).
You will have the opportunity for the development of your individual movement specialisms and apply them to the work of actors. The courses provide a rich and diverse landscape within which to address movement practices in relation to a wide range of established theatre processes and innovations in the field.
Practical movement teaching and movement directing on selected projects offers you a range of potential applications in the fields of theatre production, puppetry, animation, classical theatre, film acting, and contemporary and devised work. You are given the opportunity to develop your own practice as movement specialists according to your interests in this growing and innovative field, and you will undertake potentially ground-breaking research into movement.
You will undergo a formalised and systematic actor movement education that coincides with the emergence of a widespread social interest in all aspects of physicality and the body. There is a firm emphasis on Laban’s movement philosophy and Lecoq’s spatial and physical techniques, but the overall approach is eclectic and celebrates a variety of methods. You may encounter the work of movement practitioners such as Feldenkrais, Roth, Suzuki, Alexander, Pisk, Humphries, Barba and Grotowski.
Our teaching methods place equal emphasis on individual and group development, through individual tutorials, group seminars and workshops. Practical sessions are designed to enhance your skills as a movement teacher or movement director.
In the first year, students of the MA and MFA combine for Terms One to Three. MFA students will work independently in a second year of specialist study aimed at widening and deepening practice within a professional context.
You will be expected to undertake one or two attachments that are supported with tutorials throughout the year, as part of an ongoing process of reflection, analysis and growth that will lead to a final dissertation submission.
A MFA top-up year for those with an existing MA in this subject is also available.
For first year students on both the MFA and MA courses, assessment is through a range of methods, including work on practical projects, written assignments and teaching/directing practice placements.
In the last term of the MA, students work independently to complete specialist enquiry, arising from work undertaken during the course. The MFA extends into a second year that involves workplace attachments, mentorship and practice.
You will normally have a degree or equivalent in a subject that includes an element of movement or dance. Graduates of other disciplines will be considered if they can provide evidence of previous training and experience in movement or dance. If you have a strong movement background and professional experience of working with movement for at least two years, you will be considered for non-standard entry.
An offer will normally only be made after interview.
An MFA top-up year for those with an existing MA in this subject is also available.
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 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.
If you are selected for an interview for a place on MA or MFA Movement: Directing and Teaching we will require you to prepare the following:
You should bring with you clothes suitable for a movement session, and some written evidence of any academic qualifications.
The interview process will also give you an opportunity to find out more about the course and the School.
Each year Central hosts a number of interviews outside of the UK, with a team of tutors from Central travelling 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 Course Leader 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.
These have included hosts CAP-21 in New York and university settings in Greece and Norway.
Movement teachers have include:
View profiles of the academic staff and regular visiting lecturers who teach on these courses. Click on each staff member to find out more about them.
View profiles of our current students for these courses. Click on each student to see their CV.
Selected graduates of this course include:
Lucy Cullingford (2005) Dance Repetiteur on Matilda The Musical, which won Best Choreography at the 2012 Olivier Awards. Movement director on the Broadway production of Constellations, starring Jake Gyllenhaal (2014).
Natasha Koechl (2005) is associate professor at the University of Saskatchewan, Canada, and also has worked as Assistant Director and Movement Coach on the Canadian Premier of The Kite Runner at Theatre Calgary and the Citadel Theatre, Edmonton.
Polly Bennett (2011) Worked as Assistant Movement Director on the London 2012 Olympic Opening Ceremony, Mass Choreographer on the Opening and Closing Ceremonies of the Winter Olympics and the Paralympic Games. She was Resident Company Movement Practitioner at the Royal Shakespeare Company in 2013.
Brad Cook (2009) Performed in the original Canadian cast of War Horse for the National Theatre. He will be Associate Movement Coach at the Stratford Festival in Canada for the upcoming season (2014).
Anna Morrissey (2005) Artist in Residence for Historic Royal Palaces. Her credits as a Movement Director include King Charles III at the Almeida and Wyndhams theatres, and The World of Extreme Happiness at the National Theatre. She was also a Movement Assistant on the London 2012 Olympic Opening Ceremony.
Fiona Rae (2007) Head of Movement at the Academy for Live and Recorded Arts.
Sita Thomas (2012) Movement director and film maker. In 2014 was commissioned by the National Theatre to make films about movement and the role of a movement director, one of which features Diane Alison-Mitchell (2008).
May Bo Wu (2011) is Co-Artistic Director of Dirks Theatre in Hong Kong.
Graduate employment and career pathways include:
Japan, Korea, Canada, Mexico, Australia, Germany.
MA Bisola Bello
MA Nicoletta Bonanni
MA Sophie de Vries
MA Sam Hind
MA Sachi Kimura
MA Korina Kokkali
MA Gabriele Lombardo
MA Ruth Phillips
MA Sacha Plaige
MA Julie Shaw
MFA Diane Paola Alvarado Gaitan
MFA Morgan Barbour
MFA Tine Dambourg
MFA Susanna Dye
MFA Christian From
Class of 2017 (MA/MFA Movement: Directing and Teaching)
Alejandra Guarin Gutierrez
Rosa Manzi Reid
Antonio Chuaqui Concha
MFA Lama Amine
MFA Alejandra Chacon
MFA Hanna Junti
Class of 2016 (MA/MFA Movement: Directing and Teaching)
Camila Rojas Cannobbio
Class of 2015 (MA Movement: Directing and Teaching)
PG Cert Joshua MacLellan
Class of 2014 (MA Movement Studies)
Enric Ortuno Garcia
Class of 2013 (MA Movement Studies)
Asha Jennings Grant
Class of 2012 (MA Movement Studies)
Sol Henriquez Vargas
Class of 2011 (MA Movement Studies)
May Bo Wu
Class of 2010 (MA Movement Studies)
Class of 2009 (MA Movement Studies)
Class of 2008 (MA Movement Studies)
Karin Fisher Potisk
Diane Alison Mitchell
Class of 2007 (MA Movement Studies)
Class of 2006 (MA Movement Studies)
Class of 2005 (MA Movement Studies)
Publications by the MA MFA Movement tutors include:
2014. Actor Movement: Expression of the Physical Being by Vanessa Ewan and Debbie Green (Bloomsbury, Methuen 2014 UK / 2015 USA).
2017 The Actor and His Body by Litz Pisk, new introduction by Ayse Tashkiran (Bloomsbury, Methuen 2017).
2018 Laban’s Effort in Action: A Movement Handbook for Actors Vanessa Ewan with Kate Sagovksy (Bloomsbury, Methuen 2018).
2016 'Dancing Since Strapped to Their Mother’s Backs: Movement Directing on the RSC’s African Julius Caesar’ by Diane Alison Mitchell in Jarrett-Macauley, D. (ed.) Shakespeare, Race and Performance: The Diverse Bard (London, Routledge 2016)
2016 ‘Souks, Saris and Shakespeare: Engaging young, diverse audiences at Shakespeare’s Globe and the National Theatre’, by Dr Sita Thomas in The Diverse Bard: Shakespeare, Race and Performance, ed. by Delia Jarrett-Macauley (London: Routledge, 2016)
2016 ‘British Movement Directors’ by Ayse Tashkiran in The Routledge Companion to Jacques Lecoq, edited by Rick Kemp and Mark Evans (Abingdon; Routledge, 2016)
2017 Mythic Place by Marianna Vogt in Dramatherapy: Reflections & Praxis, Macmillan
“The Dog, the Guard, the Horses and the Maid”: Diverse Casting at the RSC’ by Sita Thomas (Contemporary Theatre Review, Volume 24, Issue 4, Taylor and Francis, 2014)
2016 Much Ado About Nothing dir. By Iqbal Khan (review) by Sita Thomas (Asian Theatre Journal, Volume 32, Number 2, Fall 2015) Sita Thomas
2018 Giraffe Time by Nicky Coutts and Vanessa Ewan Taylor and Francis online
Ph.D. Thomas, S. (2016) ‘In Search of a New National Story’: Issues of Cultural Diversity in the Casting and Performance of Shakespeare in Britain 2012–2016’, University of Warwick
Ph.D. Munro Beveridge, J. (2008) Dance as Encounter. A practical and theoretical investigation of 21st Century Choreography.
The Course Leaders also run the International Centre for Movement