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Introduction
The Classical and Contemporary Text programme from the Royal Conservatoire of Scotland is an intensive year-long course. It is for actors and directors with some experience who want to take their skills to the next level and who want to become more reflective, aspirational practitioners.
There are two strands to the Classical and Contemporary Text Masters – acting or directing – with students working together as an ensemble throughout the year. You will focus on two strands of theatre: classical (Shakespeare and Renaissance Text) and contemporary (original work, new writing and contemporary text). There will be numerous opportunities to learn, experiment, and collaborate in projects, performances, and rehearsals.
As part of your studies, you will complete a one-month residency at Shakespeare’s Globe in London, developing your knowledge and skills of working with classical text.
You will spend time working with some of Scotland’s most talented writers in our collaboration with Playwrights’ Studio, Scotland. You will then have the opportunity to make your own original work. You will also be in public performances of productions of contemporary text.
You’ll end your studies here with industry showcases in Glasgow and London. Through this programme, you will benefit from professional connections allowing you to develop invaluable industry contacts. When you graduate, you will have gained practical, high-level experience of working in the profession, as well as all-important contacts and the skills to underpin your future career, including business, entrepreneurship and industry etiquette.
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Programme structure
This programme offers two strands to the Classical and Contemporary Text Masters – acting or directing – with students working together as an ensemble throughout the year.
Term one
The programme begins with classes focusing on the methodologies of voice, movement and acting. If you’re a director, you will work alongside the actors, participating in these practical classes. All students will learn about the processes of developing new work and ensemble creation, as well as learning how to get the most out of working collaboratively with professional practitioners. You will undertake in-depth exploration of approaches to realism in performance, as well as contemporary text.
Term two
You will begin this term with an intensive month at Shakespeare’s Globe Theatre, London, working with the Globe Education faculty. This month culminates with a performance of scenes from a Shakespeare play on the Globe stage. Additionally, the directing students will have the opportunity to present scenes to an invited audience.
On returning to Glasgow, you will embark on fully-realised Renaissance theatre productions. You will explore the rehearsal process within the structure of a professional production. These are led by professional directors, with the directing students working as assistant directors.
Term three
This term is devoted to learning more about the profession and how to prepare for it. There will be mock auditions and sessions on entrepreneurialism, small company start-up and networking, with key professional practitioners being invited in to share their experiences. There will be continued opportunities to explore new work and you will also complete your own practice-led research performance-project, and have the option to undertake a professional placement of your choice.
Term four
In the final term, contemporary plays that were chosen earlier in the year will go into rehearsal under the leadership of the directing students. They will recieve public performances at RCS, to which the industry is invited. Time is set aside for you to attend productions and other events at the Edinburgh International Festival. Your studies end with the industry showcases in Glasgow and London.
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Why choose us?
The Royal Conservatoire of Scotland is in the World Top 5 for performing arts education
- Month-long residency at Shakespeare’s Globe, London
- 94% of MA CCT graduate respondents are in employment or further study (HESA, 15/16)
- Industry showcases in Glasgow, London and a New York showcase for North American students
- Work on new plays with commissioned playwrights
- Public performances of classical and contemporary plays
- Small class sizes ensuring individual attention
- Close links with professional partners including the National Theatre of Scotland, the Citizens Theatre and Bard in the Botanics Festival
- Masterclasses and workshops with visiting artists
- Opportunities to create and perform original, interdisciplinary, practice-led research
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Teaching staff
The programme is delivered in combination with Royal Conservatoire of Scotland staff and practising theatre professionals, directors, and educators. This combination means you’ll be working with experienced staff members and making contacts with the national and international theatre community in a professional working environment.
Teaching Staff
Marc Silberschatz – Head of Classical and Contemporary Text
Eve Jamieson – Lecturer in Acting and Directing
Visiting Staff and Practitioners
- Michael Grandage
- Ben Harrison – Grid Iron
- Matthew Lenton – Vanishing Point
- Nadine George – Voice Studio International
- Anna-Helena Mclean – Moonfool
- Candice Edmunds – VoxMotus
- Dougie Irvine – Visible Fictions
- Ewan Downie – Company of Wolves
- Kate Sagovsky
- John Kazek
- Vanessa Coffey
- Mark Thomson
- Nick Bone – Magnetic North
- Jemima Levick – Dundee Rep
- Gordon Barr – Bard in the Botanics
- Adrian Osmond
- Lu Kemp
- Graham McClaren – National theatre of Scotland
- Graham Eatough
- Cora Bisset
- Tim Licata – Plutot La Vie
- Peter Collins
- Liz Carruthers
- Nicolas Lormeau – Comedie Francaise
- Rick Kemp
- Alexandra Silber
- Rick Kemp
- Debbie Hannan – Royal Court
Commissioned playwrights
- Douglas Maxwell
- Linda McLean
- David Harrower
- Nicola McCartney
- Chris Hannan
- Peter Arnott
- Anne Marie di Mambro
- Davey Anderson
- Ian Finlay Macleod
- Pamela Carter
- Oliver Emmanuel
- Rona Munro
- Lewis Hetherington
- David Ireland
- Alan McKendrick
- Mike Cullen
- Jules Horne
- Gary McNair
- Steph Smith
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Facilities
MACCT students have full access to the Royal Conservatoire of Scotland’s award-winning facilities, including the Wallace Studios at Speirs Locks and the practice rooms and performance spaces in the Renfrew Street Building. Including five professional performing arts venues, a student IT Suite and drama rehearsal rooms.
The Whittaker Library has one of the world’s most comprehensive collections of performance materials for dance, drama, music, production and screen. You will also have access to thousands of electronic resources, as well as extensive audio and film collections. There’s a dedicated silent study area, student IT labs and Wifi throughout the building to make sure you can get the most from your learning experience. We also have experienced subject specialists, a learning technologist, an IT trainer, support analysts and an archivist to ensure that whatever your learning style, you have all of the physical and virtual resources you need.
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Class of 2018
- Student Showcase Class of 2018 Modal Controls:
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- Student Showcase Class of 2018 Modal Controls:
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- Student Showcase Class of 2018 Modal Controls:
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- Student Showcase Class of 2018 Modal Controls:
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- Student Showcase Class of 2018 Modal Controls:
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- Student Showcase Class of 2018 Modal Controls:
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- Student Showcase Class of 2018 Modal Controls:
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- Class of 2018 Modals
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Nik Abbing
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Nayia Anastasiadou
Prior to her training at RCS Nayia received a 3-Year Diploma in Acting from the Athens Stage Drama School as well as a BA in Social Anthropology from Panteion University (Athens, Greece).
Theatre credits include: The True Chronicle History of Henry V (Royal Conservatoire of Scotland), Twelfth Night (Shakespeare’s Globe Higher Education), Lysistrata (Pafos European Capital of Culture 2017 / Folkwang University), The General Secretary, Hippolytus and Which Body? (National Theatre of Cyprus – THOC), That Face and Rosencrantz and Guildenstern are Dead (Amfiktio Theatre), The Glass Menagerie (Krama Theatre), Thesmophoriazusae (Politistiki Ekfrasi, Greece tour) and Phaethon (Izmir International Festival).
Television credits include: Black Eyes (Alpha Cyprus), Stone River and Steps on the Sand (Cyprus Broadcasting Corporation).
https://www.spotlight.com/6013-3424-5246
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Joseph Burke
Joe completed his undergrad at Durham in 2013. In the years in between, he worked in London and Cardiff, acting, writing and setting up the first Cardiff Fringe Theatre Festival.
Theatre credits include: The True Chronicle History of Henry V (Royal Conservatoire of Scotland), Firm (Thirsty Bird Productions), King Lear (Tower Theatre Company), Macbeth (Thrust Stage), 39 Steps (Kronos Productions) and The Bacchae (Castle Theatre Company).
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Anna Carley
Anna is originally from Manchester. Before training at the Royal Conservatoire of Scotland she studied at The School of Performance and Cultural Industries at the University of Leeds, in which she attained a BA Hons in Theatre and Performance.
Theatre credits include: Titus Andronicus (RCS), Twelfth Night (The Globe Education/ RCS), On the Edge of Nothing (Stage@Leeds), The Women of Troy (Stage@Leeds), Into the Woods (National Student Drama Festival).
Anna holds a BASSC qualification in unarmed combat. Additionally she has a BETEC qualification in Musical Theatre and has training in singing, dancing (Tap, Modern, Ballet and Jazz) and basic guitar.
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Leonora Cooke
Prior to training at the Royal Conservatoire of Scotland, Leonora studied at the University of York where she obtained a First Class BA in English Literature.
Theatre credits include: Titus Andronicus (Royal Conservatoire of Scotland); Twelfth Night and The Duchess of Malfi (Globe Education/Royal Conservatoire of Scotland); Doctor (Theatre in the Pound – Cockpit Theatre); Alan and Bennett (Camden Fringe and Edinburgh Festival Fringe); Journey to the Centre of the Earth (Edinburgh Festival Fringe); A Christmas Carol (York Guildhall) and Richard II (Bronzehead Theatre tour).
Upcoming productions include: Antony and Cleopatra (Bard in the Botanics) and Splendour (Royal Conservatoire of Scotland).
Leonora holds a BASSC qualification in Unarmed Combat.
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Bridget Cosgrove
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Kelly Davie
Prior to training at The Royal Conservatoire of Scotland, Kelly obtained a First class BA Honours in Performance at The University of The West of Scotland and an MA in Theatre Practices at The University of Glasgow.
Theatre credits include: Rebecca (The Citizens Theatre), Twelfth Night (Shakespeare’s Globe/The Royal Conservatoire of Scotland); Henry V (The Royal Conservatoire of Scotland); BBC Comedy Presents, The International Comedy Festival(The Glasgow Stand); Girl’s like that (Centre for Contemporary Arts Glasgow); The Memory of Water (Centre for Contemporary Arts Glasgow).
Kelly plays the guitar and has strong movement and dance skills, (Swing, Lindy hop, Jive, ballroom,) she also holds a BASSC qualification in Unarmed Combat.
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Chris Finch
Theatre credits include: Imprfct (Citizens Theatre, Glasgow), Titus Andronicus (Royal Conservatoire of Scotland), Now Or Later (Square One Theatre, Connecticut), From White Plains (Square One Theatre, Connecticut), Take Me Out (Bijou Theatre, Connecticut).
Film credits include: The Dark Room (New York Film Academy), Shattered Memories (Short – New York University), Spoilers (Short – New York University), Brainstorm (Short – New York University).
Television credits include: General Hospital (American Broad Casting Company).
Before studying at RCS, Chris trained with Terry Schreiber at T Schreiber Studios and Theatre in New York City. Chris holds a BA from St. Lawrence University, a Master’s in Education from Fordham University, and is a law school dropout.
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Lizzie Forman
Lizzie received her Bachelor of Fine Arts in Acting from Oklahoma City University. She also spent a semester studying abroad at Edge Hill University where she trained in Contemporary and Aerial Dance with Wired Aerial Theatre, Liverpool.
Theatre credits include: The True Chronicle History of Henry V (Royal Conservatoire of Scotland), Twelfth Night and Edward II (Shakespeare’s Globe Higher Education), Bad Shakespeare (Edinburgh Festival Fringe 2016), The Last Days of Judas Iscariot, Wit, and The Man Who Came to Dinner (Oklahoma City University School of Theatre), Lovely Ugly (North East Wales Dance and Edge Hill University)
Upcoming productions include: Antony and Cleopatra (Bard in the Botanics) and The Arsonists (Royal Conservatoire of Scotland)
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Beth Gallagher
Beth trained at the Meisner/Chekhov Integrated Training Studio and has a MA from San Diego State University.
Theatre credits include: Titus Andronicus (Royal Conservatoire of Scotland), To Fall In Love With Anyone, Do This (Jeneric Melpomene) When The Rain Stops Falling (Cygnet Theatre), Gruesome Playground Injuries (Max Fischer Players), The one-woman show Amelia Lives (American History Theatre), Car Plays 2013 and Car Plays 2015 (Without Walls Festival, La Jolla Playhouse).
Film credits include: To Fall In Love With Anyone, Do This (Slanted View Pictures) and several short films.
Beth originated the role of Merryn in To Fall In Love With Anyone, Do This, and the show won Best Drama at the 2017 San Diego International Fringe Festival.
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Meg Heus
Theatre credits include: The True Chronicle History of Henry V (Royal Conservatoire of Scotland), R.U.R. (Resonance Ensemble at The Beckett Theatre NYC), Bootlace Bridge (Young Playwrights Inc. at The Lucille Lortel Theatre NYC), Twelfth Night (Vassar Powerhouse Apprentice).
Film credits include: The Chaperone (PBS and Masterpiece), Crazy Bitch (Short – Columbia University MFA and Official Selection at New Orleans Film Festival), This is Tomorrow (Short – Official Selection NewFilmmakers New York Film Festival), Memory (Short – New York University).
Television credits include: The Man in the High Castle (Amazon Studios), The Blacklist (NBC), The Big C (Showtime), Ugly Betty (ABC Television).
Before studying at RCS, Meg graduated from the Two-Year Meisner Actor Training Program at The William Esper Studio in New York City. Meg holds a BA in English and Dramatic Literature from New York University and a BASSC qualification in Unarmed Combat.
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Derek Jeck
Theatre credits include: The True Chronicle History of Henry V (Royal Conservatoire of Scotland), The Resistible Rise of Arturo Ui (Trap Door/Cie Umbral), The Dancing Plague (Right Brain Project), Vladimir Goes for Gold, A Christmas Carol (Traveling Lantern), The Misanthrope (Piccolo), The Winter’s Tale (First Folio), and Don’t Dress for Dinner (Citadel).
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Jack Brownridge-Kelly
Prior to training at the Royal Conservatoire of Scotland, Jack trained at LAMDA and National Youth Theatre and studied at Sussex University where he gained an upper second-class honours degree in Film Studies.
Theatre credits include: Titus Andronicus (Royal Conservatoire of Scotland); Twelfth Night (Globe Education/ Royal Conservatoire of Scotland); Posh (Apollo Productions); Over the River and Through the Woods (Metro Theatre,Vancouver); The Lonesome West; (SUDS).
Jack has written, directed, produced and appeared in a number of his own productions, most recently the one-act play Two Sides of the Curtain which premiered at Edinburgh Fringe 2017 and is now being developed into a two-act script.
Jack plays guitar, bass guitar, sings and composes his own material. He has a BASSC qualification in Unarmed Combat.https://www.spotlight.com/4619-4503-9884
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Alison Kertz
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Danielle Krivinchuk
Danielle trained at the National Theatre Institute and the Actor’s Workout at the Guthrie. She has a BA in Theatre and Psychology from Hamline University.
Theatre Credits Include: Titus Andronicus (Royal Conservatoire of Scotland), Synchronicity and The Funny (Raw Sugar), Arcadia and Betty’s Summer Vacation (Chameleon Theatre Circle), Silent Sky (Lyric Arts), The Oresteia (Hero Now), Eastern Standard and Our Country’s Good (Workhouse Theatre Company), Seven (Chain Reaction Theatre Company), and has performed in multiple shows at the Minnesota Fringe Festival (2010-2017)
Film Credits Include: Speak Up and Meet Cute.
You can hear Danielle’s voice as the narrator on the app Frequency Missing and her alter ego Chatty La Rue can be found hosting Theatre Unbounds 24hr Extreme Theatre Smackdown.
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Ffion King
Prior to training at the Royal Conservatoire of Scotland, Ffion studied at Lancaster University where she gained an upper second-class honours degree in Theatre.
Theatre credits include: Titus Andronicus (Royal Conservatoire of Scotland); The Changeling and Twelfth Night (Globe Education/ Royal Conservatoire of Scotland); Sugar Oh Honey Honey, Stranger Than Fiction and DNA (Lancaster University); Abigail’s Party, Accidental Death of an Anarchist and West Side Story (Lancaster University Theatre Group) and The Dreaming (Curve Theatre).
Ffion plays the clarinet at grade 6 level, has both musical theatre and classical singing training, has experience in dancing (modern, ballet and tap), holds a LAMDA Gold Medal Award, and has a BASSC qualification in Unarmed Combat.
Ffion will be appearing in The Arsonists later this year.
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Michael Lorsong
Before training at the Royal Conservatoire of Scotland, Michael trained at The Liverpool Institute for Performing Arts where he received a BA in Acting.
Theatre credits include: The True Chronicle History of Henry V (Royal Conservatoire of Scotland); Twelfth Night and The Changeling (Globe Education/Royal Conservatoire of Scotland); All’s Fair in Love and War (Threedumb Theatre); Urinetown: The Musical, 3 Winters and Titus Andronicus (The Liverpool Institute for Performing Arts); Benched (Quids In Theatre Company); and Dunsinane (National Theatre of Scotland).
Michael will appear in the film Bohemian Rhapsody (20th Century Fox), which is due to release in October 2018.
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Claire Macallister
Theatre credits include: Titus Andronicus and Twelfth Night (Royal Conservatoire of Scotland); Fraternal (Midsumma Festival); Welcome to Nowhere (Malthouse Theatre/Melbourne Fringe Festival) and Since I Suppose (one step at a time like this/Melbourne Festival).
Claire holds a BASSC qualification in Unarmed Combat.
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Mallie McCowan
Mallie trained at The American Players’ Theatre (Spring Green WI) and The Piven Theatre (Chicago IL).
She also trained in longform and shortform improvisation at The Second City (Hollywood), UCB Theatre (Hollywood), Comedy Sportz LA, and Impro Theatre (Los Angeles).
Theatre credits include: Titus Andronicus (Royal Conservatoire of Scotland), X-files: Unclassified, S1 (Impro Theatre), Tennessee Williams Improvised (Impro Studio), The Tempest (Waltmar Theatre).
TV credits include: Monster Date (CW), Alibi (Entertainment One), The Crooked Rooks (Parallel Entertainment), Fired (Beanstalk Productions), Smar Tech (Declan Tregar Productions).
Film Credits include: Ticklish (Kenny Sharman Productions), Knockdown Dragout (Clint Hudson Productions) Break: The Musical (Waiting for Gravity Music), Last Letter to Kennekuk (Ideabird Productions).
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Caitlin Mileon
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Spencer Davis Milford
Theatre credits include: The Broadway revival of The Winslow Boy (Roundabout Theatre Company); Billy Elliot (First US National Tour); How the Grinch Stole Christmas (First US National Tour); World Premiere of Nibbler (Rattlestick Playwrights); Titus Andronicus (Royal Conservatoire of Scotland); Twelfth Night (Shakespeare’s Globe Higher Education); Newsies and 42nd Street (The Muny); Peter and the Starcatcher (Repertory Theatre of St. Louis); Small Craft Warnings (Tennessee Williams Festival); Next to Normal and John and Jen (Insight Theatre Company). Upcoming productions include Tiny Dynamite and Candid Cabaret (Royal Conservatoire of Scotland).
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John Spilsbury
John will be appearing in the 2018 Season of Bard in the Botanics, as Montague in Romeo and Juliet.
Theatre credits include: Henry V (Royal Conservatoire of Scotland), Scenes from A Twelfth Night (The Globe Theatre), Threepenny Opera, War In America and Lysistrata (Attic Collective) Julius Caesar and Orlando (Some Kind of Theatre), Gobland for the Goblins (Aulos Productions), Ocean-a-rific (Scottish Seabird Centre), Suppliant Women (Royal Lyceum Theatre).
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Yven Webster
Yven trained at the Pacific Conservatory Theatre.
Theatre credits include: Titus Andronicus (Royal Conservatoire of Scotland); Twelfth Night, Merchant of Venice, You Can’t Take It With You, and Richard III (Pacific Conservatory Theatre); Macbeth (Reflective Sight).
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Matthew Bentley
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Andrea Cabrera Luna
Andrea Cabrera Luna is the artistic director of Anahat Theatre. She holds an MA in Performance and Culture from Goldsmiths College, University of London. She read a BA in English Literature at the National Autonomous University of Mexico (UNAM) and a BA in Acting at the National School of Performing Arts (ENAT), Mexico City. She wrote the play I Am That Girl, which opened in Edinburgh in 2017.
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Heather Knudtsen
Heather studied theatre directing at the Guildford School of Acting before continuing her studies at the Royal Conservatoire of Scotland.
Theatre credits include: The True Chronicle History of Henry V (assistant; Royal Conservatoire of Scotland), Tis Pity She’s a Whore (Globe Education), The Believers are but Brothers (assistant; Ovalhouse Theatre/Edinburgh Festival Fringe/Bush Theatre), The Fall of the House of Usher (Guildford School of Acting), Festen, Blood Wedding (assistant; Guildford School of Acting), Noises Off, The 39 Steps, A Christmas Story (Jonesborough Repertory Theatre), Dial M for Murder, The Little House on the Prairie (assistant; Barter Theatre).
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Tomaž Krajnc
Tomaž was born in Celje, Slovenia. After graduating in psychology, he applied for an MA in Classical and Contemporary Text at the Royal Conservatoire of Scotland where he is currently studying theatre directing.
Theatre credits include: Street Scene (assistant; RCS), McGonagall’s Chronicles (assistant; A Play, A Pie, A Pint); a scene from The Changeling (Globe Education / RCS); The Year of Schlager (F. B. Sedej); Vanya, Macbeth, The Pillowman, Nora Nora (Theatre Zarja Celje); The Affected Ladies, The Sixth Sense, The Moon’s Daughter, The Class, The Divine Comedy (First High School in Celje).
Film credits include: Dualism (TFilm Production); The Control Panel, The Crucial Step (NoName Pictures); Reflection of the Past, Broken Memories (First Grammar School in Celje).
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Graduate destinations
Throughout the year professional opportunities will arise with visiting professionals, and involvement in productions at Òran Mór and at the Bard in the Botanics festival, Glasgow. On The Verge is another exciting performance opportunity; a festival of new work in which students question and push the boundaries of the theatrical form.
Throughout the year, further professional opportunities may arise. You will be encouraged to find work placements that relate to your particular interests and aspirations. The list of companies that students have undertaken placements with is impressive: Steppenwolf (Chicago), Red-Handed Theatre (Canada), Circle in the Square (New York), The RSC (Stratford), The Factory (London), Shared Experience, BBC Scotland, Dundee Rep, the Citizens Theatre, the Royal Lyceum Theatre (Edinburgh), Gridiron, Communicado, Vox Motus, Frantic Assembly and the National Theatre of Scotland.
Our graduates work as performers, directors, dramaturgs, producers, writers, and teachers. Graduates have started theatre companies; written, directed, produced and performed shows across the world; and performed and directed stage, film and television productions. Some of our recent graduates include:
Vickie Beesley
Actor/director, Terra Incognita Theatre CompanyAyana Bey
ActressPaul Brotherston
Director, Blood of the Young Theatre CompanyGwendolen Chatfield
Actor, the GlobeAmanda Gaughan
Director, NTS/Lyceum Theatre/ Dundee RepStacy Gould
Actor and producerDebbie Hannan
Assistant Director, the Royal CourtLauren Hurwood
Actor, Northern StageAmy Ludwigsen
Director, Shakespeare in Door CountyRiley Madincea
Film and theatre actorIshbel McPharlane
Actor and writerMatte O’Brien
Director and playwrightMichael-Alan Reid and Angie Kay
Actors/directors, Cardboard Fox Theatre CompanyThis programme creates reflective creative practitioners. Our graduates leave with a sharper sense of potential and aspiration, and are able to adapt in the ever-changing dynamic of the profession.
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Images and video
MACCT at the Globe
Titus Andronicus
Henry V
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Fees and scholarships
Tuition fees for academic year 2019-20
- UK/EU Students – £13,095
- International (non-EU) – £20,561
Scottish/EU students
New Scottish and EU domiciled students may be eligible for a Postgraduate Tuition Fee Loan. All eligible students will be able to apply directly to Student Awards Agency for Scotland (SAAS) for a non-means tested loan of up to £3,400. See the following website for further details of the PSAS scheme:
http://www.saas.gov.uk/full_time/pg/index.htm
Scottish domiciled postgraduate students on eligible courses can also apply for a Postgraduate Living Cost Loan up to £4,500 towards living expenses. This is in addition to the existing loan available towards the cost of their tuition fees.
Scholarships
Any potential student who auditions for a place at the Royal Conservatoire will automatically be considered for a scholarship. They are awarded on a combination of talent, potential and financial need. More information about Scholarships is available here
Sources of external funding
For more information about alternative funding sources, including external scholarships and bursaries, please visit here.
The Conservatoire’s International and Student Experience team are available to advise and assist applicants and current students in respect of queries about funding your studies at the Conservatoire. Please email or telephone +44 (0)141 270 8281/ +44 (0)141 270 8223 for further information.
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Entry requirements
In arriving at its recommendation, the audition/interview panel will take account of all aspects of the applicant’s profile i.e.:
- Performance at audition/interview
- Commitment to the particular programme
- Potential to benefit from the programme
- Academic qualifications
- Personal statement
- Performance qualifications
- Performance/practical experience
- References
- Contextualised data
General Academic entrance requirements
Applicants are normally expected to hold an appropriate undergraduate degree, or its overseas
equivalent, in a subject area relevant to the demands of the programme.Language of Study
The language of study is English. Applicants who first language is not English will be required to provide evidence of proficiency in English. We accept the International English Language Testing System (IELTS). Level 7.5 (with a score of 7.5 in speaking) is required.
Non-standard Entry
We welcome applications from individuals whose academic qualifications or English language qualifications do not match (in terms of equivalence) or fall short of the normal entrance requirements, where specified*. Having satisfied the Audition Panel that they meet the selection criteria and demonstrated that they have the capacity to pursue the proposed course of study, such applicants will be considered through examination of contextualised data provided in accordance with the Non-Standard Entry Policy. The appropriate Head of Department/ Programme will make a case in support of the applicant for consideration by the Directors of the Schools and Convener of the Quality and Standards Committee.
*Note that UK Visa and Immigration (UKVI) imposes minimum English Language qualifications in respect of international (non-EU) applicants who require a Tier 4 Visa to study in the UK.
Mature Students
RCS welcomes applications from mature students, i.e. students over the age of 21 at entry to the programme. Whilst the selection procedures will still be applied, consideration will be given to appropriate artistic experience not normally expected in school leavers, which is deemed to compensate for any lack of traditional entrance qualifications. Successful mature applicants, as for all other applicants, must convince auditioning panels that they have the ability and potential to cope with the demands of the programme. Their progress, especially in the early stages of the programme, will be closely monitored and appropriate advice and support given.
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Auditions
Applicants should prepare the following for audition:
MA Classical and Contemporary Text (Acting)
At audition, candidates for the Acting pathway will be required to perform two monologues, one classical, preferably by Shakespeare and in verse, and one contemporary. This will be followed by an interview. Audition recordings are welcomed from non-UK applicants and should follow the audition requirements as a live audition.
MA Classical and Contemporary Text (Directing)
Candidates for the Directing pathway will lead a workshop rehearsal session on a short scene from a Chekhov play, and this will be followed by an interview. The session should constitute the first thirty minutes of a first rehearsal of the text in question. The audition and interview will take one hour.
Audition Recordings
If you are auditioning via video recording, please read the following information before sending us your material. Prior to submitting a recorded audition, you must apply via UCAS Conservatoires. Recorded auditions can be easily submitted online using Acceptd.
You will need to create an account, but then you can easily upload the recordings you wish to be considered. Recordings will not be considered until a UCAS Conservatoires application has been submitted. Once you have completed the UCAS Conservatoires application, you should proceed to Acceptd to submit your video recording. We will only accept recordings submitted via Acceptd and will not accept any other format, i.e. DVDs. Recordings should arrive by the 31 March 2019 .
Applicants who wish to submit an audition recording should prepare the tasks that would be carried out in the live audition. Directing applicants should produce an unedited 30 minutes of first rehearsal. There should be a short preface from the applicant about the aims of the session and a short reflection immediately after.
This may be followed up with a Skype interview.
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How to Apply
- Apply via UCAS conservatoires
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Applications are made through UCAS Conservatoires website. The UCAS Conservatoires application system is separate from the main UCAS undergraduate application system. If you wish to apply to conservatoires and universities within UCAS, you will need to register for both services.
There is a UCAS application fee of £25 to register to use UCAS Conservatoires.
To begin a new UCAS Conservatoires application, you will need to register. You can read the UCAS Conservatoires’ advice on completing the UCAS Conservatoires application.
If you need assistance with your application, you can contact UCAS Conservatoires team by telephoning (Monday to Friday, 8.30 – 18.00). Phone 0371 468 0470 from within the UK or +44 330 3330 232 if you are calling from overseas.
Application deadline date
The closing date for all on time undergraduate applications from the UK, EU and International (non EU) is 31 March 2019. If you submit your application after this date, we cannot guarantee that you will be invited to audition.
If you do consider to submit a late application, please contact admissions@rcs.ac.uk in the first instance to check we are accepting late applications. Late applications will be considered on a case by case basis.
We do not offer deferred entry. If you wish to commence in 2020, you must apply next year.
The Royal Conservatoire of Scotland institution code is R58.
You will also require the following programme code to apply:
MA Classical and Contemporary Text (Acting): 700F
MA Classical and Contemporary Text (Directing): 701F
- Application fee
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There is a UCAS Conservatoires application fee of £25. In addition to the application fee, each conservatoire charges an audition fee. For RCS, the audition fee is £55 per programme applied for. Fees are not refundable. The fees are paid via the UCAS Conservatoires website and not directly to RCS and RCS does not offer any fee waivers.
Audition fee
The Royal Conservatoire of Scotland charges an audition administration fee of £55 per course.
We recognise that auditioning and interviewing for conservatoires, drama and ballet schools can be costly. The audition fee charge allows us to offer a thorough and positive experience to all applicants and we encourage you to ask the panel questions and find out more about the Royal Conservatoire of Scotland to see if it is the best place for you.
- References
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It is your responsibility to ask two separate referees to write references and ensure that these are sent to RCS.
The references must be written by two different people and we will not accept references from family, other relatives or close friends. You can submit your UCAS Conservatoires application form and send your references at a later date, but they must be received prior to your audition date.
UCAS Conservatoires provides reference forms for you to download and send to your referees for completion.
- Entrance requirements
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Our admissions processes are designed to be fair, transparent and efficient. The audition/interview approach serves the dual nature of allowing the panel to assess first-hand an applicant’s suitability for their chosen programme and it also affords the applicant the opportunity to gain a deeper insight into the nature of that programme and the opportunities offered by the RCS.
In arriving at its recommendation, the audition/interview panel will take account of all aspects of the applicant’s profile i.e.:
- Performance at audition/interview
- Commitment to the particular programme
- Potential to benefit from the programme
- Academic qualifications
- Personal statement
- Performance qualifications
- Performance/practical experience
- References
- Contextualised data
General Academic entrance requirements
Applicants are normally expected to hold an appropriate undergraduate degree, or its overseas
equivalent, in a subject area relevant to the demands of the programme.Language of Study
The language of study is English. Applicants who first language is not English will be required to provide evidence of proficiency in English. We accept the International English Language Testing System (IELTS). Level 7.5 (with a score of 7.5 in speaking) is required.
Non-standard Entry
We welcome applications from individuals whose academic qualifications or English language qualifications do not match (in terms of equivalence) or fall short of the normal entrance requirements, where specified*. Having satisfied the Audition Panel that they meet the selection criteria and demonstrated that they have the capacity to pursue the proposed course of study, such applicants will be considered through examination of contextualised data provided in accordance with the Non-Standard Entry Policy. The appropriate Head of Department/ Programme will make a case in support of the applicant for consideration by the Directors of the Schools and Convener of the Quality and Standards Committee.
*Note that UK Visa and Immigration (UKVI) imposes minimum English Language qualifications in respect of international (non-EU) applicants who require a Tier 4 Visa to study in the UK.
Mature Students
RCS welcomes applications from mature students, i.e. students over the age of 21 at entry to the programme. Whilst the selection procedures will still be applied, consideration will be given to appropriate artistic experience not normally expected in school leavers, which is deemed to compensate for any lack of traditional entrance qualifications. Successful mature applicants, as for all other applicants, must convince auditioning panels that they have the ability and potential to cope with the demands of the programme. Their progress, especially in the early stages of the programme, will be closely monitored and appropriate advice and support given.
- Selection process
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Applicants who apply on time (before 31 March) are invited by email, approximately three weeks before the audition date, to RCS to undertake an audition/interview. All auditions/interviews will take place at RCS in Glasgow unless you have chosen another location.
Please note that RCS is only obliged to offer one audition/interview date per application. Alternative dates will only be provided (subject to availability) in exceptional circumstances. If you are unable to make your allocated audition date, you should email us immediately stating the reason.
MA Classical and Contemporary Text auditions will take place from February to June.
Where we audition
Whilst most auditions take place at the Conservatoire, we do hold some auditions internationally. If you wish to audition at any of the locations below, please submit your application at least one month in advance of the audition date. If you apply less than a month in advance, we cannot guarantee to audition you in person, and we may ask you to submit a recording instead.
If you select ‘RCS’, your audition will be in Glasgow. We welcome recorded auditions from non UK applicants. If you wish to audition by recording, please select ‘recording’. If you require further information about auditioning in the locations below, please email hello@rcs.ac.uk.
Audition Locations
Where When New York January 2019 Chicago February 2019
- Recorded audition
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If you are auditioning via video recording, please read the following information before sending us your material. Prior to submitting a recorded audition, you must apply via UCAS Conservatoires. Recorded auditions can be easily submitted online using Acceptd.
You will need to create an account, but then you can easily upload the recordings you wish to be considered. Recordings will not be considered until a UCAS Conservatoires application has been submitted. Once you have completed the UCAS Conservatoires application, you should proceed to Acceptd to submit your video recording. We will only accept recordings submitted via Acceptd and will not accept any other format, i.e. DVDs. Recordings should arrive by the 31 March 2019 .
Applicants who wish to submit an audition recording should prepare the tasks that would be carried out in the live audition. Directing applicants should produce an unedited 30 minutes of first rehearsal. There should be a short preface from the applicant about the aims of the session and a short reflection immediately after.
This may be followed up with a Skype interview.
- Audition
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Applicants should prepare the following for audition:
MA Classical and Contemporary Text (Acting)
At audition, candidates for the Acting pathway will be required to perform two monologues, one classical, preferably by Shakespeare and in verse, and one contemporary. This will be followed by an interview. Audition recordings are welcomed from non-UK applicants and should follow the audition requirements as a live audition.
MA Classical and Contemporary Text (Directing)
Candidates for the Directing pathway will lead a workshop rehearsal session on a short scene from a Chekhov play, and this will be followed by an interview. The session should constitute the first thirty minutes of a first rehearsal of the text in question. The audition and interview will take one hour.
- Following your audition
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All decisions will be posted on UCAS Conservatoires following your audition via UCAS Conservatoires Track, (you will need your username and password). You will also receive notification from UCAS Conservatoires when decisions on all your choices are available.
Please see below for an explanation of UCAS Conservatoires codes:
Guaranteed Unconditional (GU) RCS is satisfied from the information you have given, that you have already met the conditions for entry. Unless your application and/or qualification are subsequently shown to be fraudulent, a guaranteed unconditional offer is binding.
Guaranteed Conditional (GC) RCS has made the offer subject to you meeting certain conditions such as examination results. Conditions can be viewed via UCAS Conservatoires Track. Unless your application and/or qualifications are subsequently shown to be fraudulent, the offer is binding if you accept the offer and meet the conditions. You must meet the conditions of the offer by 31 August 2019, unless an earlier date is specified. If your conditions include obtaining IELTS (English Language test), you must meet this condition by 31 May 2019.
Reserve Unconditional (VU) RCS is satisfied from the information you have given, that you have already met the conditions for entry and you have been offered a place on our reserve pool.
Reserve Conditional (VC) RCS has offered a place on its reserve pool subject to you meeting certain conditions such as examination results. Conditions can be viewed via UCAS Conservatoires Track.
Unsuccessful (R) RCS does not wish to offer you any type of a place.
- Replying to offers
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As soon as a decision is made, UCAS Conservatoires will let you know. You must reply online via UCAS Conservatoires Track. Your reply date is displayed on Track. If you do not reply by the date given, your offers will be declined automatically. The reply date may be different to other applicants as it is based on when you receive your last decision.
Last decision by Your reply date is 4 January 2019 30 January 2019 16 March 2019 16 April 2019 16 July 2019 30 July 2019 6 August 2019 9 September 2019 After 6 August 2019 25 September 2019 Please see the UCAS Conservatoires website for more information on replying to offers. If you make an application through UCAS Conservatoires, UCAS or UCAS Teacher Training, you cannot hold more than one confirmed place. A confirmed place in UCAS Conservatoires is a guaranteed unconditional offer as your first choice (GU1) and in UCAS and UCAS Teacher Training it is an unconditional firm (UF) place. If you receive more than one confirmed place, UCAS will ask you to accept one offer and withdraw from any others.
- Policy
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We have a number of policies and statements which you should read when applying to study at the Royal Conservatoire.
Please select the links below to read each policy.