This module examines the problems of adapting non dramatic texts for performance. It takes as its starting point the pioneering work done by the Shared Experience company in the 1970s and looks at large scale adaptations such as the RSCs Nicholas Nickleby.

The module explores the different modes of collaboration between the director and the artistic and technical teams which contribute to the production. It is envisaged that the module will be subdivided into sections covering the main areas of collaboration one at a time.

The module will outline the contextual background for each form of comedy and compare and scrutinise these various forms. The differences between farce and other forms of dramatic comedy will be analysed. Masterclasses and workshops will explore in practical work how the director must relate to the actor and the text in rehearsal, with especial focus on timing, rhythm and gesture. There will be an examination of French and English farce and various other forms of dramatic comedy such as Restoration comedy, Wilde, Shaw and Stoppard.

The module will outline the contextual background for each form of comedy and compare and scrutinise these various forms. The differences between farce and other forms of dramatic comedy will be analysed. Masterclasses and workshops will explore in practical work how the director must relate to the actor and the text in rehearsal, with especial focus on timing, rhythm and gesture. There will be an examination of French and English farce and various other forms of dramatic comedy such as Restoration comedy, Wilde, Shaw and Stoppard.

The module will outline the contextual background for each form of comedy and compare and scrutinise these various forms. The differences between farce and other forms of dramatic comedy will be analysed. Masterclasses and workshops will explore in practical work how the director must relate to the actor and the text in rehearsal, with especial focus on timing, rhythm and gesture. There will be an examination of French and English farce and various other forms of dramatic comedy such as Restoration comedy, Wilde, Shaw and Stoppard.

This module provides students with opportunities to experience the specific conditions of directing other drama students at East 15 or an alternative drama school or a university context.

This module provides students with opportunities to experience the specific conditions of directing other drama students at East 15 or an alternative drama school or a university context.

This module provides students with opportunities to experience the specific conditions of directing other drama students at East 15 or an alternative drama school or a university context.

This module is aimed at students with prior experience and knowledge of directing. It explores the problems of leading as Artistic Director including budgeting, contracts, policy, planning, PR and marketing, maintaining relationships with key stakeholders and planning.

In this module the student engages at a professional level with the process of producing and directing a production of his/her choice. The module offers help with logistics and financial planning, as well as tutor support at all stages, but the student is expected to be independent in all aspects of the production process. The module brings into play many skills studied elsewhere in the programme.

In this module the student engages at a professional level with the process of producing and directing a production of his/her choice. The module offers help with logistics and financial planning, as well as tutor support at all stages, but the student is expected to be independent in all aspects of the production process. The module brings into play many skills studied elsewhere in the programme.

In this module the student engages at a professional level with the process of producing and directing a production of his/her choice. The module offers help with logistics and financial planning, as well as tutor support at all stages, but the student is expected to be independent in all aspects of the production process. The module brings into play many skills studied elsewhere in the programme.

This module is designed to introduce students to practices, techniques, images and sounds derived from various traditional performance forms across Asia. Each time it runs the module will focus on forms from one country of the region. The module will concentrate on techniques and ideas that can be used for cross cultural performance creation.

This module is designed to provide an introduction to the problems of directing Shakespeare and his contemporaries. It develops specific textual skills and places the plays within the context of the Elizabethan world view and its reflection in the playhouse. It focuses on techniques designed to help actors with speaking verse and examines problems of staging, design and interpretation.

This module examines the main principles of Stanislavskian acting and directing methodology. It combines acting exercises with text analysis based on scenes from realistic plays and deals with the main acting and directing techniques developed by Stanislavsky and his Russian followers.

This module is designed to allow student opportunities to demonstrate an in-depth knowledge of one aspect of the work of the programme.

The Dissertation by Director's Production Workbook is the alternative written form allowed within the MA Theatre Directing degree and consists of a complete workbook for a play that has been agreed in advance with the supervising tutor. The word length will vary according to the text in question. The book will consist of an explanation of the thinking process, planning processes and decision-making processes of a director working on a real or imaginary production.

This module is designed to allow student opportunities to demonstrate an in-depth knowledge of one aspect of the work of the programme. Students may commence work on the Dissertation provided that they have successfully completed 120 credits of taught postgraduate modules. The written dissertation option will be approximately 12,000 words in length, double-spaced and typed. Two copies must be submitted by the due date which will be set by the Head of Programme.

This module is designed to allow student opportunities to demonstrate an in-depth practical knowledge of and skill in theatre directing. The Dissertation by Director's Production Workbook consists of a complete workbook for a play that has been agreed in advance with the supervising tutor. The word length will vary according to the text in question. The book will consist of an explanation of the thinking process, planning processes and decision-making processes of a director working on a real or imaginary production.

A student can elect to complete the MFA by direction of a theatre production and submission of a supporting written commentary of 4-5,000 words. The written commentary length will vary according to the extent of visual material included. The commentary may be presented in written or alternative electronic form (DVD, Web page, Video Diary etc.). The commentary is both an archival record of the processes involved in creating the production and analysis of the learning process in relation to the student’s own professional development.