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) and contemporary (new writing). 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 on new plays with some of Scotland’s most talented writers in our collaboration with Playwrights’ Studio, Scotland. These new plays are performed in Glasgow to a public and professional audience.

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.

Programme Outline

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

You will start with exploring, creating and developing performance texts. If you’re a director, you will work with the actors, participating in practical classes to gain experience in methodologies of voice, movement and acting. You will learn about the processes of new writing and ensemble creation, as well as learning how to get the most out of working collaboratively with playwrights and professional practitioners. Both actors and directors will begin their journey into contemporary text, starting with exploring scenes from existing plays by commissioned playwrights. In the final month of this term, you will spend an intensive month at Shakespeare’s Globe Theatre, London, being taught by Globe Education faculty. This month culminates with a performance on the iconic Globe stage.

Term two

You will rehearse Shakespearean and/or Renaissance texts with professional directors. Directing students will work as assistants and acting students will explore the rehearsal process within the structure of a professional production, to which the industry is invited. There will be sessions on entrepreneurialism, small company start-up and networking, with professional practitioners being invited here to share their knowledge and experience. You will also complete your own practice-led research project, and have the opportunity to undertake a professional placement of your choice. Additionally, there will be the opportunity for North American students to participate in a New York showcase.

Term three

In the final term, the new plays, developed during the year, go into final rehearsal, and performance, led by the directing students. You will participate in workshops and discussions, as well as watch productions, at the Edinburgh International Festival and Edinburgh Festival Fringe. Your year with us will finish with industry showcases in Glasgow and London.

Staff and masterclasses

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

Audition requirements

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.

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.

Applicants who wish to submit an audition recording should prepare the tasks that would be carried out in the live audition. They 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.

Audition recordings are submitted online using Acceptd.

This may be followed up with a Skype interview. We will only accept recording submitted via Acceptd and will not accept any other format, i.e. DVDs.

Find out more about the audition process in our Guide for Applicants Journey.

How to apply

Applications for the MA Classical and Contemporary Text (Acting) or (Directing) programme should be made through the UCAS Conservatoires website. There is a UCAS application fee of £25 (which is in addition to the audition fee) which allows you up to six choices of programme of study. For more information on how to apply, please visit the Apply section.

Before applying we recommend that you read the Guide for Applicants which provides information regarding entry requirements, and the full application and audition process.

Begin your Applicant Journey here.

Student Showcase

Class of 2018

Nik Abbing

Nik Abbing

Nayia Anastasiadou

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

Joseph Burke

Joseph Burke

 

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Anna Carley

Anna Carley

Leonora Cooke

Leonora Cooke

Before 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); Alan and Bennett (Cup of Brew Productions); Journey to the Centre of the Earth and A Christmas Carol (Not Cricket Productions) and Richard II (Bronzehead Theatre tour).

Film credits include: Broken Record (TFTV).

Leonora holds a BASSC qualification in Unarmed Combat.

https://www.spotlight.com/4413-5646-4976

Bridget Cosgrove

Bridget Cosgrove

Kelly Davie

Kelly Davie

Theatre credits include: The True Chronicle History of Henry V, (Royal Conservatoire of Scotland), Twelfth Night (Shakespeare’s Globe, Globe education), BBC Comedy presents, (The Glasgow Stand).

Kelly will be appearing in Abi Morgan’s Tiny Dynamite later in the year.

Kelly also recently wrote and produced her own one-act play which was performed at Gilmorehill Theatre Glasgow.

Chris Finch

Chris Finch

Lizzie Forman

Lizzie Forman

Beth Gallagher

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.

www.beth-gallagher.com

Meg Heus

Meg Heus

Derek Jeck

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).

Jack Brownridge-Kelly

Jack Brownridge-Kelly

Alison Kertz

Alison Kertz

Danielle Krivinchuk

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.

Ffion King

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, holds a LAMDA Gold Medal Award and has a BASSC qualification in Unarmed Combat.

https://www.spotlight.com/2617-9089-3499

Michael Lorsong

Michael Lorsong

Before training at the Royal Conservatoire of Scotland, Michael studied at The Liverpool Institute for Performing Arts where he received a BA in Acting.

Theatre credits include: The True Chonicle 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 (20^th Century Fox), which is due to release in November 2018.

Claire Macallister

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.

Mallie McCowan

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).

Caitlin Mileon

Caitlin Mileon

Spencer Davis Milford

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).

John Spilsbury

John Spilsbury

Yven Webster

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).

Matthew Bentley

Matthew Bentley

 

 

 

 

Andrea Cabrera Luna

Andrea Cabrera Luna

Heather Knudtsen

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).

www.heatherknudtsen.com

Tomaž Krajnc

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).

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

Entry requirements

• Normally a good undergraduate degree, or its overseas equivalent, in a subject area relevant to the demands of the programme.

Entrance to the Conservatoire is based on talent, potential and ability, therefore consideration will be given to relevant experience which is deemed to compensate for any traditional education. We accept a wide range of qualification, including international qualifications. If you wish to check the suitability of your qualification/experience, please contact us ( admissions@rcs.ac.uk ).

English Language

The language of study is English. Applicants whose first language is not English will be required to provide evidence of proficiency in English. We accept the International English Language Testing System (IELTS).

Other equivalent English Language qualifications may be considered, please contact us (admissions@rcs.ac.uk ) for more information.

• IELTS – 7.5 with a minimum score of 7.5 in speaking

Audition Requirements

Audition requirements can be found in the Guide for Applicants journey on the following website

Fees and scholarships

Tuition fees for academic year 2018-19

• UK/EU Students – £12,471
• International (non-EU) – £19,581

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.

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 Company

Ayana Bey
Actress

Paul Brotherston
Director, Blood of the Young Theatre Company

Gwendolen Chatfield
Actor, the Globe

Amanda Gaughan
Director, NTS/Lyceum Theatre/ Dundee Rep

Stacy Gould
Actor and producer

Debbie Hannan
Assistant Director, the Royal Court

Lauren Hurwood
Actor, Northern Stage

Amy Ludwigsen
Director, Shakespeare in Door County

Riley Madincea
Film and theatre actor

Ishbel McPharlane
Actor and writer

Matte O’Brien
Director and playwright

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

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.

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.

Images and videos

MACCT at the Globe

Titus Andronicus

Henry V

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