University of Sussex Students Union
It will be taught by experienced theatre-makers, mainly in seminar-workshops involving analysis of text, practical exercises, lecture inputs and discussion. If you have specific questions about the degree, contact Danny Braverman or Ben Levitas. The research, teaching, and professional profiles of staff are wide-ranging and tuned into student aspirations. If you are not a national of a majority English speaking country, then your degree must be no more than three and a half years old at the beginning of your programme of study.
- Support will be provided by departmental staff to develop links with existing partners and other relevant organisations.
- You should submit academic essays on any subject or theme within the discipline of politics but preferably ones that relate to your proposed field of study.
- All the theatre-makers analysed on the module illustrate how today questions of identity and ethnicity in France and in its former colonies, are live, unresolved, and fluid.
Admissions panels or committees will always include at least one member of academic staff who has undertaken appropriate training. If your first language is not English, you may need to provide evidence that you meet this requirement. The minimum scores required to meet the University’s higher level are detailed in the table below. Research or working experience that is relevant to your proposed study may provide further evidence of your academic potential. If your degree is not from the UK or another country specified above, visit our International Qualifications page for guidance on the qualifications and grades that would usually be considered to meet the University’s minimum entry requirements.
Scholarships and funding
However, as part of your course requirements, you may need to choose a dissertation, a project or a thesis topic. Please note that, depending on your choice of topic and the research required to complete it, you may incur additional expenses, such as travel and vaccination expenses, conference attendance, research expenses, and field trips. You will need to meet these additional costs, although you may be able to apply for small grants from your department and/or college to help you cover some of these expenses. Supported by appropriate instruction from lectures and tutorials, this module also develops independent research skills, provides a chance to engage with material of personal interest, and offers the possibility of laying claim to a specific area of study. That chosen subject may build upon skills and knowledge gained during the degree or it may pursue suitable material not substantially addressed elsewhere on the course. It may be that the chosen subject area corresponds to a staff research interest; most importantly it should be an area for which the student feels both enthusiasm and curiosity.
The study of the history of theatre and performance in Africa requires the recognition that in dealing with theatre in Africa, one is dealing with a variety of traditions of performance. These traditions have developed mostly along parallel trajectories, and only sometimes intersecting each other’s paths. The course will look at these theatres and performances, both as products and shapers of their historical, social and cultural contexts and processes. It will examine the impact of colonialism on the development of theatre in Africa, as well as the responses of these theatres to key historical facts and events in Africa. Examples will be drawn mainly from Nigeria, Ghana, Kenya, Sierra Leone, South Africa, Ivory Coast, Senegal, Tanzania, and Zimbabwe. This module introduces a range of theoretical perspectives that can be used to analyse diverse performance texts.
Weekly lectures will provide detailed context and provocations for further discussion/debate. Topics addressed will include late 20th and 21st century gay and lesbian theatre, postmodern feminist performance art, and queer identities broadly defined. Through the critical analysis of 20th-century case studies, you will develop an understanding of the adoption of avant garde techniques from Dada to Live Art to ‘In Yer Face’ realism. This module explores the relationship between visual art and theatre in both the pre-war, historical avant-gardes- such as Futurism, Dada and Surrealism- and some of the post-war, neo avant-gardes. Apart from obvious points of contact such as stage design, we will try to understand the relation between theatrical writing and performance, through art and visual imagery.
Life in London
If you have any queries, please feel free to contact the society via the Facebook, Twitter or Instagram pages, or any of the committee members. We only exist to provide ffs-dz.com services for our members, so your feedback really is important to us. The Politics Ball is a flagship event in the University of Warwick social calendar.
The term Scenography derives from the Greek sceno-grafika and can be understood as ‘writing in space’. The practice of Scenography is concerned with the dramaturgical exploration of space, the parameters of which might be described as all that exists in the performance space pertaining to the senses, for example the visual/aural language of the performance. This module will allow you to explore Scenography as a complex system of signs by which we can both examine and imagine the potential of space, through decoding/encoding the performative space.