Classical & Contemporary Text | Postgraduate Introduction

Introduction

MA/MFA Acting/Directing Classical and Contemporary Text is a vocational postgraduate programme of study for emerging artists. The programme aims to enable actors and directors to acquire practical skills, knowledge and understanding in relation to contemporary/new writing and classical text.

The programme offers two pathways, acting or directing, with all students working together as an ensemble. There will be numerous opportunities to learn and experiment, in projects, rehearsals and performances; creative collaboration lies at the heart of all the work. As part of your studies, you will complete a one-month residency at Shakespeare’s Globe in London, developing your knowledge and skills in classical text in this unique, iconic environment. You will spend time working on both classical and contemporary texts. These plays are performed to a public and professional audience. You will end your studies with the opportunity to perform in 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. The programme also encourages you to generate your own performance ideas, so that you are able to emerge into the professional world with a greater sense of yourself as a creative, self-reliant artist.

MFA

MFA students will complete the full MA Acting Classical and Contemporary Text programme with an additional four-month module in which they will create a substantial piece of original work with mentoring and support. This project should serve as a ”˜creative calling card’, providing another vehicle into the industry for those students who see themselves as theatre-makers in addition to actors.

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, acting and directing. If you’re a director, you will work alongside the actors, participating in these practical classes. This will coincide with a project designed to empower you to take stock of yourself as an artist. Following on from this, you will learn learn about the processes of ensemble creation, as well as learning how to get the most out of working collaboratively. Term one will culminate with an in-depth exploration of approaches to realism in performance.

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 experienced directors, with the directing students working as assistant directors.

Term three

This term is devoted to exploring contemporary text, new writing development and original work. Attention will also be paid to learning more about the profession and how to prepare for it. This will include mock auditions and a variety of discussions and masterclasses with key professional practitioners who will share their experiences. You will have the opportunity to complete your own practice-led research performance project and may seek out and undertake a professional placement if you so choose.

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 receive 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. While preparation for entering the profession will have been ongoing throughout your studies, extra time and attention will be devoted to engagement with the profession as you conclude your studies.

MFA

In the four months following term four, you will position yourself as an autonomous artist and collaborative performance maker. With support and mentoring from RCS lecturers and industry professionals, you will develop a substantial original performance which will serve as a ‘creative calling card’ as you move into your professional life.

Why choose us?

The Royal Conservatoire of Scotland is in the World Top 10 for performing arts education 2016, 2017, 2018 and 2020 (QS World Rankings)

Month-long residency at Shakespeare’s Globe, London
100% of graduate respondents are in employment or further study (HESA 2016/17)
Public performances of classical and contemporary plays
Close links with professional partners including Playwrights’ Studio Scotland, and Company of Wolves
Masterclasses and workshops with visiting artists

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.

Head of Classical and Contemporary Text

Marc Silberschatz

Teaching Staff

Eve Jamieson – Programme Co-ordinator and LEcturer (Acting and Directing)
Staff from the RCS Centre for Voice in Performance (Voice)
A full teaching team at Shakespeare’s Globe
Professional guest artists

Past guest artists have included:

Ewan Downie, Artistic Director Company of Wolves
Gordon Barr, Artistic Director Bard in the Botanics
Fiona Sturgeon Shea, Creative Director, Playwrights’ Studio Scotland

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

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.

Class of 2020

Class of 2020 Modals: Shakara Ahad; Eddi Asher

Eddi is a young actress and singer who completed her BA in Acting from Federation University Arts Academy, Australia in 2018. She began training in dance during her time there, and draws heavily on classical language, rhythm and movement to influence her work. She is also a hoop aerialist and competitor, and is an advocate for validating and incorporating similar art forms into the medium of theatre.

Theatre credits include: Agamemnon, The Chekhov Project, Margaret of Anjou and The Time is Not Yet Ripe (Federation University Arts Academy), Litter Superheroes (Ballarat Begonia Festival), Cymbeline and The Changeling (Shakespeare’s Globe Education) and A Winter’s Tale or The Child Hath Found Her Mother (Royal Conservatoire of Scotland).; Valerie Andrews Bauer

Valerie is a Guatemalan actress, trained at the London Academy of Music and Dramatic Art for a semester and is currently doing her MA at the Royal Conservatoire of Scotland.

Theatre credits include: Bien de Familia (Beares Teatro), El Mercader de Venecia (Teatro Nacional, Guatemala), Noche Ãrabe, Otelo (Lucky Cat Productions), Toc Toc (Teatro Lux, Guatemala), Truffaldino, El InsÃ³lito Caso del SeÃ±or Morton (La Fábrica de Microobios).

Film credits include: Hidden Treasures of the Sweet Absolute (Wonder Pictures/UFM School of Film and Visual Media), El tÃºnel, el ojo y el muro (Imaginatorio Films), Espacios VacÃos (London Film School)

She has her own theatre and film production company, Lucky Cat Productions in Guatemala.; Lawrence Boothman

Theatre credits include: Jack & The Beanstalk (Derby Arena); The Last Days Of Anne Boleyn (Tower of London); The Odyssey (The Scoop); Incident At Vichy (Finborough Theatre); A Dream Of Dying (Edinburgh Festival Fringe).

Lawrence is also a violinist and singer, and is featured on the original cast recording of Scottish composer Finn Anderson’s Alba.; Andy Camichel

Andy is a British actor from Reading. He trained at Royal Holloway, University of London (BA Drama and Theatre Studies); LAMDA (Postgraduate Diploma in Classical Acting) and is currently doing his MA at the Royal Conservatoire of Scotland.

Theatre credits include: Cymbeline (Shakespeare’s Globe Education), The Duchess of Malfi (Shakespeare’s Globe Education), The Crucible (Gategrash Theatre), By Jeeves (Courtyard Theatre), Newsrevue (Canal Cafe Theatre), Kiss of The Spiderwoman (Edinburgh Fringe).

Andy directed and compered for his own Cabaret touring company. He has directed at The Bloomsbury Theatre. He still enjoys compering and directing as well as acting.; Jaimee Aislyn de Witt; Georgia Figgis

Theatre credits include: Cymbeline and ‘Tis Pity She’s a Whore (Shakespeare’s Globe Education); V&V (Pleasance, London); Whatever It Might Mean (Southwark Playhouse); Animal Farm (British Council School, Madrid); As You Like It (OUDS/Thelma Holt Tour); Much Ado About Nothing and Romeo and Juliet (Michael Pilch Studio); Passion, King Lear and The Hypochondriac (O’Reilly Theatre); The Master and Margarita and The Ash Girl (Edinburgh Festival Fringe); Singin’ In The Rain (Oxford Playhouse); Henry V (Worcester College, Oxford); Yesterday, In Her Eyes and The Grandfathers (Burton-Taylor Studio).

Film credits include: The Dinner Club (WMAF Pictures); Ensemble and Sally (OBA Productions).

Georgia also holds a degree in English Language and Literature from the University of Oxford.; Sophie Harris

Sophie previously trained in Edinburgh at the MGA Academy of Performing Arts. Prior to this she completed an undergraduate MA in Classical Studies at the University of Edinburgh, where she was often involved in productions with the student-run ‘Bedlam Theatre’. She has also been involved in a number of productions at the Edinburgh Fringe.

Theatre credits include: Cymbeline (Shakespeare’s Globe Education); Aulos Double Bill (Aulos Productions Tour); Shakespeare Catalysts (Aulos Productions); If We Were Birds (The MGA Academy); The Ash Girl (The MGA Academy); Gobland for the Goblins! (Aulos Productions); Mary Queen of Scots Got Her Head Chopped Off (The MGA Academy); Lest We Forget (Aulos Productions Tour); Julius Caesar (Aulos Productions); Women of the Mourning Fields (Aulos Productions Tour).; Sydney Hymanson; Ilil Kish; Sarah Linnell

Theatre credits include: Ai no Rekitheater (TBS), Madama Butterfly (Tokyo Metropolitan Opera), Hamlet (RADA), I Walk on Golden Splinters (T Factory), Counterfeit (Backdoor Theater), Little Women, Night Must Fall, and Into the Woods (Tokyo International Players)

TV and film credits include: J-Flicks and Hashtag Tokyo (NHK World), Five Star Tourist (TBS), Letters from Hibakusha, Historia, Gekitsui, and Hanako to An (NHK)

Radio credits include: NHK World News, Plug-in Japan, and Musician Portraits (NHK World Radio Japan)

Sarah recently made her video game debut, providing motion and performance capture for Death Stranding (Kojima Productions); Megan Lovat; Miranda Elyse McCauley

Miranda started the professional theatre scene right out of high school in Houston, Texas. At the age of 21, she moved to New York City with little to no savings, starved for about a week, then started working with political artist and now educator Meggan Gomez. She then began her studies at the Deena Levy Theatre Studio where she went from student to teaching assistant to one of the three main teachers. Within teaching, she liked to focus on the healing aspect of acting and worked to lead her students to an authentic place of being.

Outside of the studio, she enjoyed more avant guard and challenging theatre. She performed an all female production of The Tempest naked in a city park, Measure for Measure as Isabella in a dilapidated church, and played Emily Dickinson in an interactive one person piece in a hotel three bedroom vacated attic in Australia. She maintained a side job at a delightful brewery bar in Brooklyn until she was lucky enough to begin her studies at RCS. She hopes to continue her artistic work in Glasgow after graduation.; George Knight Pond; Dylan Price

Theatre credits include: Cymbeline and ‘Tis Pity She’s A Whore (Shakespeare’s Globe Education), Twelfth Night (Showcase Sioe Gerdd), As You Like It and Measure for Measure (University of Gloucestershire), A Clockwork Orange (University of Gloucestershire), A Midsummer Night’s Dream (Showcase Sioe Gerdd).

Film credits include: Russell & Jameela (Its My Shout/BBC Wales)

Dylan also holds stage combat qualifications for knife, single sword, Escrima stick, broad sword and rapier & gauntlet.; Halley Robertson

Halley is an actor from the United States, born in St. Louis, Missouri and raised in her hometown of Granite City, Illinois. She has performed since the age of 8 and did her formal training at Southern Illinois University in Edwardsville, Illinois, receiving a BA in Theatre Performance.

Theatre credits include: Stop Kiss (Rogue Theatre Company), Dates (Tesseract Theatre Company), Scarecrow (Independent Theatre Company), and lastly, Two Gentlemen of Verona (SIUE).

When she returns to the US, she plans to create new writing, work in film and do whatever she can to support local artists in the St. Louis theatre scene.”; Emily Ross

Emily is a transgender actor from Bedford, UK.

Theatre credits include: A Winter’s Tale, Cymbeline (Shakespeare’s Globe Education), The Duchess of Malfi (Shakespeare’s Globe Education), Three Sisters, Medea (Royal Conservatoire of Scotland); Tomorrow’s Great Pageant (PostWorkers Theatre); Great Expectations, BrontÃ« (Swan Theatre Company); The Diary of Anne Frank, The Merchant of Venice (Bedford Drama Company); and Lady Windermere’s Fan (Heythrop Drama Society).

Her Spotlight CV can be viewed here: https://www.spotlight.com/0935-0191-3186

Emily holds an MA in Philosophy from the University of London. She has also aided casting for historical drama (To Walk Invisible: The BrontÃ« Sisters, Sally Wainwright, BBC) (uncredited).; Martin Searles

Martin studied drama at the Australian National University, graduating with Honours in 2007. Martin also previously trained with the Hub Studio and The Actor’s Co-op in Sydney.

Theatre credits include: Twelve Angry Men (Everyman Theatre) Shrek: The Musical, The Importance of Being Ernest and Great Expectations (Free Rain Theatre Company); War of the Worlds/Tourmaline (a double-bill) (The Street Theatre); Under Milk Wood, Three Sisters, Spider’s Web and St Joan (Genesian Theatre); Twelfth Night (BESTCO); The Diary of Anne Frank and Privates on Parade (New Theatre); Romeo & Juliet (Impulse Theatre); Angels In America Parts I & II and Much Ado About Nothing (Papermoon); Amy’s View (Canberra Repertory) and The Real Inspector Hound (Moonlight).; Katja Seasholtz; Ben Standish; Trevor Telesz

Trevor is an American actor from northern Virginia, United States.

Theatre Credits Include: Twelfth Night (Royal Conservatoire of Scotland); Cymbeline (Shakespeare’s Globe Education); Much Ado About Nothing (Fauquier Community Theater) and She Loves Me (The Arlington Players).; Marie Williamson

Marie is an actress from Wakefield, West Yorkshire.

Recent credits include: Abandon at The Lyric Hammersmith, RUSH at The Space Theatre and festival winning short film Winston and Daisy. She also recently directed Bag Lady at the Spotlight Actors Awareness festival.

Marie has also co-wrote and is currently co-producing BAD VEGAN$ the series to pitch for television.; Raymond Wilson

Theatre Credits Include: Cymbeline (Shakespeare’s Globe Education), The Duchess of Malfi (Shakespeare’s Globe Education), Penetrator (Fear No Colours), Erin, Errol, & the Earth Creatures (Modest Predicament), Mercury Fur (Fear No Colours), and Cleansed (Fear No Colours).

Radio Credits Include: Homefront (BBC Radio 4).

Raymond will be playing Robin (Clown) in A Winter’s Tale (The Child Hath Found Her Mother) at The Royal Conservatoire of Scotland.; Calum Lynn Dwyer; Diana Dizor

Prior to her training at the Royal Conservatoire of Scotland, Diana obtained both a BA and a BEd in Theatre and English from the University of Winnipeg. She has since worked as an actor, stage manager, director and teacher.

Theatre credits include: A Winter’s Tale or The Child Hath Found Her Mother (assistant; dir. Marc Silberschatz, Royal Conservatoire of Scotland); a scene from The Duchess of Malfi (Shakespeare’s Globe Education); Calum Moore; JaÃ¯rus Obayomi

Graduate destinations

Throughout the year professional opportunities will arise with visiting professionals, and involvement in productions at Ã’ran MÃ³r 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 Company

Ayana Bey
Actress

Paul Brotherston
Director, Blood of the Young Theatre Company

Gwendolen Chatfield
Actor, the Globe

Ben Clifford
Actor and artistic director of Wild Goose Chase Theatre Company

Jeremy Crawford
Actor, American Repertory Theatre

Stacy Gould
Actor and producer

Debbie Hannan
Assistant Director, the Royal Court

Lauren Hurwood
Actor, Northern Stage

Meg Heus
Actor, Man in the High Castle

Amy Ludwigsen
Director, Shakespeare in Door County

Riley Madincea
Film and theatre actor

Isobel McArthur
Actor and writer

Ishbel McFarlane
Actor and writer

Ishbel McPharlane
Actor and writer

Noa Naamat
Director, Royal Opera House

Matte O’Brien
Director and playwright

Michael-Alan Reid and Angie Kay
Actors/directors, Cardboard Fox Theatre Company

Rachel Schmelling
Actor, The Public Theater

This 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.

Images and video

The Winter’s Tale

Dr Faustus

Witch of Edmonton

Fees and scholarships

Tuition fees for academic year 2020-21

MA Acting and Directing fees

UK/EU Students – £13,764
International (non-EU) – £21,612

From the next academic year (21/22) all EU students commencing study in Scotland will pay fees at the International rate.

MFA Acting and Directing fees

UK/EU Students – £18,352
Overseas – £28,816

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 on our Fees and Funding page.

Sources of external funding

For more information about alternative funding sources, including external scholarships and bursaries, please visit our Fees and Funding page.

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.

Entry requirements

In arriving at its recommendation, the audition/interview panel will take account of all aspects of the applicant’s profile i.e.:

General Academic entrance requirements

There are no formal qualification requirement for admission. Each candidate’s ability to fulfil the above brief holistically will be considered with due regard for training, qualifications, experience and other factors.

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.

Auditions

Applicants should prepare the following for audition:

MA/MFA Acting Classical and Contemporary Text

With the safety of our students, applicants and staff as our priority, all MFA/MA Acting Classical and Contemporary Text first round auditions will take place via audition recording. The deadline to submit your audition recording is the 31 March 2021.

Candidates for MA/MFA Acting Classical and Contemporary Text should record two pieces whose combined lenght does not exceed 3 minutes.

Contemporary – From a play written in the past 25 years
Classical – From a play (or material meant to be acted) written before 1800.

Candidates are welcome to present pieces that are not part of the ‘Western Cannon’ if they so desire.

Candidates who are invited to recalls will be informed which of the two pieces they will be asked to perform at the recall auditions, which will consist of an intensive exploration of that piece with core programme team members, followed by an interview. Recall auditions will take place at the Conservatoire and a London location in May 2021.

MA/MFA Directing Classical and Contemporary Text

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. Candidates can select one of the following scenes –

Seagull – Masha and Medvedenko

Seagull – Masha and Trigorin

The Cherry Orchard – Ania and Varia

The Cherry Orchard – Varia and Lopakhin

Uncle Vanya – Yelena and Sonya 2

Uncle Vanya – Yelena and Sonya

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.

Candidates for the Directing pathway who cannot attend in person can audition via alternative means. Immediately preceding your interview, you will receive links and passwords to access to videos of actors performing monologues. For the first part of the interview, the panel will ask you to talk through what you see with respect to each specific actor’s performance and how you would proceed to work with them on their performance of the monologue to help them to continue to move forward. Basically, we are asking you to tell us what you see in the performances given and then to outline what your directorial approach would be. This will be followed by a more wide-ranging discussion about your work and you as an individual. The links and passwords will be emailed to on the day of your audition.

Last decision by	Your reply date is
4 January 2021	1 February 2021
16 March 2021	13 April 2021
15 May 2021	1 June 2021
13 July 2021	29 July 2021
4 August 2021	8 September 2021
After 4 August 2021	22 September 2021

MA/MFA Acting/Directing Classical and Contemporary Text

Introduction

MFA