For applications received by
Monday 06 June 2011
there will be a round of selection interviews on
Saturday 25 June 2011
A further round of selection interviews may be held for applications received after 06 June; contact us for more details
If you have questions about the Programme you should email
Programme Administrator, Penny Luker-Brown: p.luker-brown@bbk.ac.uk
or
Programme Director, Andrew McKinnon: a.mckinnon@bbk.ac.uk
Enquiries in writing to
Andrew McKinnon
Birkbeck, University of London
Department of English and Humanities
Malet Street
London, WC1E 7HX
Please include a contact ’phone number in your email or letter.
Thursday, 24 March 2011
SPRING TERM 2011 - DETAILS
The MACP Spring Term includes Unit Four – ‘The Producer and People’, and Unit Five – ‘The Producer and Research’. Both these Units run throughout the whole term, which lasts eleven weeks.
Unit Four – ‘The Producer and People’
The emphasis shifts this term to focus more on each student’s possible personal interests and projects, following on from the work of the Unit Three Assessment and the GfA application they drafted for that assessment. Students are expected to think about and develop personal creative ideas. The work of Unit Four covers a wide range of potential areas of work, breaking down broadly into ‘artists and creative teams’ and ‘communities and audiences’. Classes covered aspects of both these areas over the term. Unit Four is taught on Wednesday and Thursday afternoons.
Unit Five – ‘The Producer and Research’
Unit Five consists of an individually chosen MA Option from a list offered annually (it changes every year). Each Unit Five Option is taught and run by a different member of BBK staff. This year, MACP students have taken options in playwriting, screenwriting, language and linguistics, aesthetics and cultural theory, memory and trauma. For Unit Five, students attend a class on one weekday evening, depending on their choice of subject.
Spring Term Programme of Classes and Events
The Spring Term began with a class and discussion led by Andrew McKinnon, concentrating on the Unit Three assessment (delivered by students in the early weeks of the term), which centres on the preparation of a complete ‘Grants for the Arts’ application by each student.
This term also we looked in particular detail at the work and structures of the Theatre Royal, Stratford East; members of the senior staff who came to talk to us and discuss key issues were Ali Campbell (General Manager), Charlotte Handel (Head of TRSE’s ‘Open Stage’ project), Alix Hearn (Head of Marketing), Mary Caws (Executive Director) and Kerry Michael (Artistic Director and Chief Executive).
Later in the term Andrew McKinnon gave several classes on some key marketing and audience relationship issues within the ACE framework.
Experienced guest practitioners who took interactive sessions included
•Tim Jones (Executive Director of ‘motiroti’)
•Jonathan Kennedy (Executive Director of 'TARA Arts')
•Tara Wilkinson (Executive Producer, 'Paines Plough')
•Melanie Abrahams (Director, 'Tilt' and 'Renaissance One')
Specialist tutors included
•Jackie Elliman, Legal Officer, ITC (Employment Law)
•Neil Laidlaw, commercial producer (‘Marketing on no Money’)
•Dr Fleur Rothschild (sessions on academic writing and structuring)
•Simon Pittman, Forced Entertainment (Devised Theatre)
•Chris Mellor, Camden's Senior Arts Development Officer, with James Norris, social media strategist ('Social Media in Marketing')
•Paschale Straiton: Street Theatre
In addition, Lyn Gardner gave a class on writing a high-profile review for The Guardian, based on Enda Walsh’s ‘Penelope’ at the Hampstead Theatre
Some classes this term were held jointly with the MFA Theatre Directing students.
This term there were also opportunities for MACP students to attend
•the DEVOTED & DISGRUNTLED conference
•‘Penelope’ by Enda Walsh at the Hampstead Theatre
•the understudy run of 'When We Are Married' at the Garrick Theatre
•the Dress Rehearsal of ‘The Mikado’ at ENO
..... and several students were last-minute guests of Bill Kenwright Ltd at the press night of ‘The Wizard of Oz’ at the London Palladium ..... many thanks to Julius Green at BKL (Julius makes a welcome return to the MA next term to teach another series of classes).
The first class of the summer term will take place on Wednesday 27 April.
Unit Four – ‘The Producer and People’
The emphasis shifts this term to focus more on each student’s possible personal interests and projects, following on from the work of the Unit Three Assessment and the GfA application they drafted for that assessment. Students are expected to think about and develop personal creative ideas. The work of Unit Four covers a wide range of potential areas of work, breaking down broadly into ‘artists and creative teams’ and ‘communities and audiences’. Classes covered aspects of both these areas over the term. Unit Four is taught on Wednesday and Thursday afternoons.
Unit Five – ‘The Producer and Research’
Unit Five consists of an individually chosen MA Option from a list offered annually (it changes every year). Each Unit Five Option is taught and run by a different member of BBK staff. This year, MACP students have taken options in playwriting, screenwriting, language and linguistics, aesthetics and cultural theory, memory and trauma. For Unit Five, students attend a class on one weekday evening, depending on their choice of subject.
Spring Term Programme of Classes and Events
The Spring Term began with a class and discussion led by Andrew McKinnon, concentrating on the Unit Three assessment (delivered by students in the early weeks of the term), which centres on the preparation of a complete ‘Grants for the Arts’ application by each student.
This term also we looked in particular detail at the work and structures of the Theatre Royal, Stratford East; members of the senior staff who came to talk to us and discuss key issues were Ali Campbell (General Manager), Charlotte Handel (Head of TRSE’s ‘Open Stage’ project), Alix Hearn (Head of Marketing), Mary Caws (Executive Director) and Kerry Michael (Artistic Director and Chief Executive).
Later in the term Andrew McKinnon gave several classes on some key marketing and audience relationship issues within the ACE framework.
Experienced guest practitioners who took interactive sessions included
•Tim Jones (Executive Director of ‘motiroti’)
•Jonathan Kennedy (Executive Director of 'TARA Arts')
•Tara Wilkinson (Executive Producer, 'Paines Plough')
•Melanie Abrahams (Director, 'Tilt' and 'Renaissance One')
Specialist tutors included
•Jackie Elliman, Legal Officer, ITC (Employment Law)
•Neil Laidlaw, commercial producer (‘Marketing on no Money’)
•Dr Fleur Rothschild (sessions on academic writing and structuring)
•Simon Pittman, Forced Entertainment (Devised Theatre)
•Chris Mellor, Camden's Senior Arts Development Officer, with James Norris, social media strategist ('Social Media in Marketing')
•Paschale Straiton: Street Theatre
In addition, Lyn Gardner gave a class on writing a high-profile review for The Guardian, based on Enda Walsh’s ‘Penelope’ at the Hampstead Theatre
Some classes this term were held jointly with the MFA Theatre Directing students.
This term there were also opportunities for MACP students to attend
•the DEVOTED & DISGRUNTLED conference
•‘Penelope’ by Enda Walsh at the Hampstead Theatre
•the understudy run of 'When We Are Married' at the Garrick Theatre
•the Dress Rehearsal of ‘The Mikado’ at ENO
..... and several students were last-minute guests of Bill Kenwright Ltd at the press night of ‘The Wizard of Oz’ at the London Palladium ..... many thanks to Julius Green at BKL (Julius makes a welcome return to the MA next term to teach another series of classes).
The first class of the summer term will take place on Wednesday 27 April.
Friday, 18 February 2011
NICE TWEET FROM LYN GARDNER
On Thursday 17 February Lyn Gardner came to Bloomsbury to lead a joint session for MACPs and the MFA Directors session on aspects of the critic's role.
Afterwards, she tweeted ....
lyngardner (@lyngardner)
18/02/2011 08:04
Lovely afternoon at Birbeck with young directors and producers.
Lovely, thoughtful people.
Reckon theatre safe in their hands......
Afterwards, she tweeted ....
lyngardner (@lyngardner)
18/02/2011 08:04
Lovely afternoon at Birbeck with young directors and producers.
Lovely, thoughtful people.
Reckon theatre safe in their hands......
Wednesday, 22 December 2010
AUTUMN TERM 2010 - DETAILS
Unit One Induction (three weeks)
The Induction period began on 29 September in Stratford East (on Wednesdays students are in Stratford, on Thursdays in Bloomsbury) with several classes led by Andrew McKinnon about the MA and its various contexts in UK theatre and performance. He also took a series of sessions on ‘Reading (and Learning from) a Budget’.
Dr Fleur Rothschild took three classes introducing academic environments and requirements, covering such essential matters as resources, techniques and strategies for study at this level.
Students also began to attend a series of ten weekly classes this term taken by Julius Green (Producer, Bill Kenwright Limited; Birkbeck Honorary Research Fellow). Over this term Julius leads students through many core issues central to the work of professional producing; and he analyses in considerable detail relevant contracts, budgets, deals, negotiation, scheduling etc.
Units One and Two (four weeks)
In these weeks students moved into some different areas of teaching and learning from those in the Induction; beginning with an introduction to some of the work and methodologies of Theatre Royal Stratford East in a lively session led by Jan Sharkey-Dodds, Head of Youth Arts and Education for TRSE.
As a group students attended three performances -
• WICKED at the Apollo Victoria (with grateful thanks to Michael McCabe and Neil Laidlaw);
• NINA AND SHAZ at the TARA studio (Language Laid Bare Productions – produced by Sarah Clews, a member of the 0910 MA CP cohort); and
• REASONS TO BE CHEERFUL at Theatre Royal Stratford East (Graeae / TRSE / Wolsey Theatre Ipswich co-production).
These shows were discussed in subsequent classes.
Experienced guest practitioners who took interactive sessions were
• Neil Laidlaw, independent producer, member of the WICKED management team;
• Bill Gee, Associate Producer, Artsadmin, recently Producer for the first Milton Keynes International Festival;
• Emma Haughton, co-Director of ArtsAgenda (Rotozaza, Gravity & Levity, Hydrocracker, Groupe Zur, et al );
• Jeremy Goldstein, London Artists Projects, producer of Marisa Carnevsky’s GHOST TRAIN; and
• Laura Kriefman, choreographer, producer, programmer of Tristan Bates Theatre.
Julius Green’s regular classes continued during this period; and Andrew McKinnon took a series of classes on ‘Contracts and Creative Teams’, analysing the relationship between creative producers and artists and looking particularly at a series of practical issues that regularly arise for producers.
Students also experienced in practice some elements of presentation and assessment with the help of a ‘dry-run’ assessment session.
Units One and Three (five weeks)
Julius Green’s regular classes continued during this period, though he took a short break to rehearse the Theatre Royal Windsor pantomine.
The title of Unit Three is ‘Production Finance’. A significant focus was the UK funding / fundraising context, launched in a session led by Charlotte Jones, ITC’s Executive Director. Andrew McKinnon then took a series of detailed classes on funding, going carefully through application processes and forms for ACE / GfA as a representative example of governmental and local authority funding and also looking at some relevant aspects of funding from trusts and foundations, including aspects of ‘the funded journey’ relating to one of his own projects.
Students also began to look at possible projects that they might like to produce, starting quite small with perhaps a Research and Development (‘R&D’) idea or a small ‘tryout’ reading or workshop production, for example.
Again several guest tutors – all very experienced producers – spoke about their work in freely interactive sessions. These began with a workshop from Neil Laidlaw on aspects of Excel. Other guests included
• Karen Fisher, TRSE Associate Producer
• Tim Jones, Executive Director ‘motiroti’.
• Laura Kriefman, on presenting and preparing to pitch projects.
• Katie Harper, Administrator 'Stage One’ (SOLT’s training arm)
• Jeremy Goldstein, on issues involved in fundraising.
The class also attended a preview of TRSE’s pantomime RED RIDING HOOD; and in the final week of term, looking forward to Unit Four, Chris Hill, director and writer, led students through a ‘Creative Beginnings’ workshop, working on exercises about initiating creative projects.
Students also delivered their first Assessment Exercise, which consisted of completing and delivering
• two Practical Exercises (one set by Andrew McKinnon on actors’ remuneration, the other set by Julius Green on theatre deals);
• an oral Presentation on the question ‘How has the work of Unit Two altered my overall view of the role of the creative producer?’; and
• an Essay (1500 words) on this subject with up to 500 words of Supporting Material.
Classes resume on 12 January 2011.
The Induction period began on 29 September in Stratford East (on Wednesdays students are in Stratford, on Thursdays in Bloomsbury) with several classes led by Andrew McKinnon about the MA and its various contexts in UK theatre and performance. He also took a series of sessions on ‘Reading (and Learning from) a Budget’.
Dr Fleur Rothschild took three classes introducing academic environments and requirements, covering such essential matters as resources, techniques and strategies for study at this level.
Students also began to attend a series of ten weekly classes this term taken by Julius Green (Producer, Bill Kenwright Limited; Birkbeck Honorary Research Fellow). Over this term Julius leads students through many core issues central to the work of professional producing; and he analyses in considerable detail relevant contracts, budgets, deals, negotiation, scheduling etc.
Units One and Two (four weeks)
In these weeks students moved into some different areas of teaching and learning from those in the Induction; beginning with an introduction to some of the work and methodologies of Theatre Royal Stratford East in a lively session led by Jan Sharkey-Dodds, Head of Youth Arts and Education for TRSE.
As a group students attended three performances -
• WICKED at the Apollo Victoria (with grateful thanks to Michael McCabe and Neil Laidlaw);
• NINA AND SHAZ at the TARA studio (Language Laid Bare Productions – produced by Sarah Clews, a member of the 0910 MA CP cohort); and
• REASONS TO BE CHEERFUL at Theatre Royal Stratford East (Graeae / TRSE / Wolsey Theatre Ipswich co-production).
These shows were discussed in subsequent classes.
Experienced guest practitioners who took interactive sessions were
• Neil Laidlaw, independent producer, member of the WICKED management team;
• Bill Gee, Associate Producer, Artsadmin, recently Producer for the first Milton Keynes International Festival;
• Emma Haughton, co-Director of ArtsAgenda (Rotozaza, Gravity & Levity, Hydrocracker, Groupe Zur, et al );
• Jeremy Goldstein, London Artists Projects, producer of Marisa Carnevsky’s GHOST TRAIN; and
• Laura Kriefman, choreographer, producer, programmer of Tristan Bates Theatre.
Julius Green’s regular classes continued during this period; and Andrew McKinnon took a series of classes on ‘Contracts and Creative Teams’, analysing the relationship between creative producers and artists and looking particularly at a series of practical issues that regularly arise for producers.
Students also experienced in practice some elements of presentation and assessment with the help of a ‘dry-run’ assessment session.
Units One and Three (five weeks)
Julius Green’s regular classes continued during this period, though he took a short break to rehearse the Theatre Royal Windsor pantomine.
The title of Unit Three is ‘Production Finance’. A significant focus was the UK funding / fundraising context, launched in a session led by Charlotte Jones, ITC’s Executive Director. Andrew McKinnon then took a series of detailed classes on funding, going carefully through application processes and forms for ACE / GfA as a representative example of governmental and local authority funding and also looking at some relevant aspects of funding from trusts and foundations, including aspects of ‘the funded journey’ relating to one of his own projects.
Students also began to look at possible projects that they might like to produce, starting quite small with perhaps a Research and Development (‘R&D’) idea or a small ‘tryout’ reading or workshop production, for example.
Again several guest tutors – all very experienced producers – spoke about their work in freely interactive sessions. These began with a workshop from Neil Laidlaw on aspects of Excel. Other guests included
• Karen Fisher, TRSE Associate Producer
• Tim Jones, Executive Director ‘motiroti’.
• Laura Kriefman, on presenting and preparing to pitch projects.
• Katie Harper, Administrator 'Stage One’ (SOLT’s training arm)
• Jeremy Goldstein, on issues involved in fundraising.
The class also attended a preview of TRSE’s pantomime RED RIDING HOOD; and in the final week of term, looking forward to Unit Four, Chris Hill, director and writer, led students through a ‘Creative Beginnings’ workshop, working on exercises about initiating creative projects.
Students also delivered their first Assessment Exercise, which consisted of completing and delivering
• two Practical Exercises (one set by Andrew McKinnon on actors’ remuneration, the other set by Julius Green on theatre deals);
• an oral Presentation on the question ‘How has the work of Unit Two altered my overall view of the role of the creative producer?’; and
• an Essay (1500 words) on this subject with up to 500 words of Supporting Material.
Classes resume on 12 January 2011.
Friday, 1 October 2010
2010-11 student biographies
^^^^^^^^^^^^^^^^^
2010-11 STUDENT BIOGRAPHIES AT SEPTEMBER 2010
Carolina Artegiani
Born in Italy, Carolina trained as an actress at Link Campus University in Rome. She moved to London in 2008 and since then her work as assistant director has included:“US Love Bites” at Tristan Bates and Old Red Lion, London, and “The Choir” by Errol Bray at Above the Stag Theatre, both directed by PravMenon Johansson. As Stage Manager: “This Story of Yours” by John Hopkins at the Old Red Lion, London, directed by Anthony Biggs. Carolina continues in her role as Assistant Director of “Parole d`Onore” (“Words of Honour”) by AttilioBolzoni, directed by Manuela Ruggiero,at Assembly Hall, Edinburgh, Jermyn Street Theatre, Londonand Piccolo Eliseo, Rome(2009) and still touring around Italy. She is a founder member of theatre company WOH, formed with the “Words of Honour” team.
Jessica Baker
Born 24th September 1988 and raised near to Ipswich, Suffolk, on the East Anglian coast. Gained A levels at The Sixth Form College Colchester. In 2007 went on to study at Brunel University, West London, attaining a BA Joint Honours in English and Music in 2010. Classically trained musician, first instrument being Clarinet; also trained to perform Saxophone, and self taught piano. Performed in classical and jazz orchestra at school, college and university. Whilst at Brunel University, took on the role of producer and host of two radio shows [‘Baker Drew a Unicorn’ / ‘Audio Soup’] between 2008-2010 on the student run ‘Radio Brunel’. In 2010 awarded a place as a Hesse Student at the Aldeburgh International Music Festival, which included: assisting artists, marshalling live art instillations, and general help, as well as page turning for a world premiere.
Stefanos Constantinou
Born in Nicosia, Cyprus in 1986. Just graduated from Manchester Metropolitan University. My degree was In Advertising Management and Brand Management. Started working as a cameraman in a local TV station. In 2003 went through auditions and became the main TV presenter for music show. During that period I got three radio shows in two different radio stations. In 2005 and after finishing high school I went to the army and trained for the confidential information office. Adding to all this, I was the only radio broadcaster for Live Aid in Cyprus having a 12 hours nonstop show. My latest job was being the main face for an ad campaign for the University of Nicosia.
Emanuaela H. Craveri
Born, raised and educated in Milan, Italy, Emanuela graduated in Humanities/Arts and Performance Sciences at UCSC, Milan, with a thesis on the Shakespearian films of Kenneth Branagh. She co-operated, with various qualifications, with a number of Italian companies linked to the Media and Show Business world, with editorial and productive duties. In particular she developed projects for the web TV of Telecom Italia and worked as a production assistant for Ubu Film and as a promoter for Corte Sconta Dance Company and Mikado Film. Moreover, she has been collaborating for years with Animanera Theatre Group and at the moment she is working as a freelance documentary and video producer. Emanuela is particularly interested in Classical Theatre and in the relationship between Theatre and Film.
Esther Fowler
Born and raised in Central Scotland. Initially started out as a performer from a dance background. Educated at Telford College gaining an HND in Musical Theatre and then studied at the London School of Physical Theatre, summer 2007. In 2009 gained a BA (hons) in Drama and Theatre Arts at Queen Margaret University specialising in Theatre Producing. Has produced theatre, live events and two short films; both screened at The Edinburgh Film House at the Edinburgh Film Festival. Is on the Board of Directors of Asylon Theatre Company; a company dedicated to delivering creative, thought–provoking theatrical works that stimulate people’s imagination and dreams. Has recently been working with Imaginate, an arts organisation that promotes and develops the performing arts for children and young people in Scotland, as the Delegate Coordinator for the Bank of Scotland’s Imaginate Children’s Festival, and continues to work with Imaginate as an associate. Is currently producing Ditto for Imaginate’s Artist in Residence Greg Sinclair as well as working for other Scottish Theatre Companies including Starcatchers and Frozen Charlotte, providing producing and administration support. Is about to start producing The Dark for Rob Evans, Writer in Residence at Imaginate.
Chrissy Jay
Born and raised in Buckinghamshire, Chrissy first studied Jewellery Design in Birmingham. Moving to London she rediscovered her love of live performance through a free events and education traineeship with the City of London Festival (www.colf.org) – involving 90+ events over 6 weeks including jazz, world music, contemporary dance and street theatre. She continues this association as freelance Events Manager. Joining Independent Opera at Sadler’s Wells (www.independentopera.com) in 2007, productions included The Sofa and The Departure (Maconchy) 2007 and Pelléas et Mélisande (Debussy) 2008 in the Lillian Baylis Theatre, Sadler’s Wells, and a concert of Orlando (Handel) in 2008 at Wigmore Hall. Chrissy took over as Administrator in 2009 and manages the on-going Artist Support programme. Other projects include a concert with the English Chamber Orchestra celebrating the opening of the V&A Jewellery Gallery and a concert at St James’s Church, Piccadilly with American a cappella group Penn Masala. Chrissy is grateful for the support of an Independent Opera Producers Fellowship.
Anthea Lewis
Anthea trained at The Northern School of Contemporary Dance, before receiving a full scholarship to study at the Jose Limon Dance Foundation in New York. Since graduating she has worked in theatre and dance with: Jagged Antic, Future Cinema, Oily Cart and Hauser Theatre. In 2007 she was commissioned by East London Dance to choreograph a duet to launch the start of an annual festival called “Two’s A Company”. Anthea has taught children’s movement and dance classes for Moving East and the Young Dancers Programme at The Place. She was Rehearsal Director for “Dance Moves”, a project that saw the collaboration between the YDP and musicians from The Royal College of Music. She has done Movement Direction for a documentary by Redoka Productions and a Play written for the Young Actors Company at Stratford Theatre Royal. She is currently performing with Belgian based company SOIT under the direction of Hans Van den Broeck.
Moira Marin
Italian. Born/raised Lova-Venice. Educated Mestre-Venice /Cambridge/London. Ballet/ Ball room Dancer-performance early childhood. Living in London since 1998. Mother of two, Nicole 7, Alessandra 6 years old. -90s Studies / high school (French, English and Economic) / developed interests in the Arts: Japanese art / culture, Martial Arts teacher-styles Wado-Ryu-Okinawa Wado-Academy-Sensei Shiomitsu; JuJitsu-Liverpool WJJF- Sensei Robert Clark .... 2000-05 Studied -History of Modern Art and Japonisme (BA)-tutor Prof Simon Shaw Miller; combined Visual Arts with business management studies (MBA certificate). 2005 to date established/directing company Moira Marin Finance and Business Management Ltd (www.mmarin.com) liaising with international as well as UK clients - Architectural, Art, Fashion and Interior Design sectors. 2007 Fund raising conference Sciartmet (www.sciartmet.com). 2009-10 Assisting Professor Mark Komissarov founder- Methodology for developing a new approach for visual information cognition (www.randi.org); collaborating MJE production Carol Winter-pantomime The Snow White and the Seven Designers performing at the Garrick theatre (www.dementiauk.org)
Chris Mellor
Chris has been Artistic Director of the Cockpit Theatre, Harrow Arts Centre and All Change; and Strategic Cultural Advisor to the newly producing HM Theatre Aberdeen, and the Blackpool Grand. He is presently assisting 14 Camden theatres in producing new digital Live Streaming work to engage new audiences, as part of his strategic work as the Senior Arts Development Officer for the London Borough of Camden. Chris founded the Camden Theatre Consortium, which helps venues and emerging creative producers to work smarter in a recession, through a supporter's website and a rehearsal space time bank. He has had extensive experience as an independent producer in the fringe sector, and has produced at the Etcetera Theatre and recently at the New Diorama Theatre with a show based on the MP expense scandal. Chris is a trustee of the Actors Centre and serves on the board of the Dukes Theatre Lancaster. He is also an advisor to Voluntary Arts England and to Arts Council England London
Esther Nissard
Born, raised and educated between France, the US, and the Caribbean. Studied political sciences for the last 5 years. Terrified of a stage until was forced to get on one at the age of 15 and never got out... Since then, created amateur Theatre Companies wherever I landed and lead them (more recently: 5 Women wearing the same dress by Allan Ball). I taught, fundraised, produced, marketed, communicated, directed, set and costume designed, prop searched...Wrote a short play in three parts for a school show. Wrote my Master’s thesis on the French theatre landscape and the question of fundraising for a show for subsidised and non subsidised theatres. Spent seven months in Spain in 2008-9 working for the French Institute of Barcelona as a Cultural Assistant where I planned, communicated and organised cultural and live performance events. Spent six months in London in 2009 working as a Production Assistant for a future musical called “1916”; and as a set designer assistant on two shows called “Estranged” and “Beyond flesh and blood”, featured at the Courtyard Theatre and the Tabard theatre.
Ine van Riet
Born in Hasselt, Belgium; raised in Hong Kong and Budapest. Has a BA in Drama and English and American Literature from the University of Kent. Spent the last years of school working in a day care, giving drama workshops to children and organising aid for children in Santo Tomas, Nicaragua. Wrote and directed children’s musical ‘Once upon…it went wrong!’ 2007. Stage Manager for ‘Compromised Immunity’ 2007, ‘Dwelling’ 2008 and ‘House of Illusions’ 2008. Assistant Stage Manager during the Royal Rajasthan Gala held in the Banqueting House, (London 2009) hosted by Sigourney Weaver and Kabir Badi. Production Manager for T:24 show ‘The Resistible Rise of Arturo Ui’ (Gulbenkian Theatre 2010). Event co-ordinator during the European School of Mol’s 50th Anniversary celebrations, including a performance by the Backyard Big Band with special guest: Thijs Van Leer. Current Co-organiser of the school’s Summer Camp and creative mind behind yearly productions.
^^^^^^^^^^^^^^^^^
2010-11 STUDENT BIOGRAPHIES AT SEPTEMBER 2010
Carolina Artegiani
Born in Italy, Carolina trained as an actress at Link Campus University in Rome. She moved to London in 2008 and since then her work as assistant director has included:“US Love Bites” at Tristan Bates and Old Red Lion, London, and “The Choir” by Errol Bray at Above the Stag Theatre, both directed by PravMenon Johansson. As Stage Manager: “This Story of Yours” by John Hopkins at the Old Red Lion, London, directed by Anthony Biggs. Carolina continues in her role as Assistant Director of “Parole d`Onore” (“Words of Honour”) by AttilioBolzoni, directed by Manuela Ruggiero,at Assembly Hall, Edinburgh, Jermyn Street Theatre, Londonand Piccolo Eliseo, Rome(2009) and still touring around Italy. She is a founder member of theatre company WOH, formed with the “Words of Honour” team.
Jessica Baker
Born 24th September 1988 and raised near to Ipswich, Suffolk, on the East Anglian coast. Gained A levels at The Sixth Form College Colchester. In 2007 went on to study at Brunel University, West London, attaining a BA Joint Honours in English and Music in 2010. Classically trained musician, first instrument being Clarinet; also trained to perform Saxophone, and self taught piano. Performed in classical and jazz orchestra at school, college and university. Whilst at Brunel University, took on the role of producer and host of two radio shows [‘Baker Drew a Unicorn’ / ‘Audio Soup’] between 2008-2010 on the student run ‘Radio Brunel’. In 2010 awarded a place as a Hesse Student at the Aldeburgh International Music Festival, which included: assisting artists, marshalling live art instillations, and general help, as well as page turning for a world premiere.
Stefanos Constantinou
Born in Nicosia, Cyprus in 1986. Just graduated from Manchester Metropolitan University. My degree was In Advertising Management and Brand Management. Started working as a cameraman in a local TV station. In 2003 went through auditions and became the main TV presenter for music show. During that period I got three radio shows in two different radio stations. In 2005 and after finishing high school I went to the army and trained for the confidential information office. Adding to all this, I was the only radio broadcaster for Live Aid in Cyprus having a 12 hours nonstop show. My latest job was being the main face for an ad campaign for the University of Nicosia.
Emanuaela H. Craveri
Born, raised and educated in Milan, Italy, Emanuela graduated in Humanities/Arts and Performance Sciences at UCSC, Milan, with a thesis on the Shakespearian films of Kenneth Branagh. She co-operated, with various qualifications, with a number of Italian companies linked to the Media and Show Business world, with editorial and productive duties. In particular she developed projects for the web TV of Telecom Italia and worked as a production assistant for Ubu Film and as a promoter for Corte Sconta Dance Company and Mikado Film. Moreover, she has been collaborating for years with Animanera Theatre Group and at the moment she is working as a freelance documentary and video producer. Emanuela is particularly interested in Classical Theatre and in the relationship between Theatre and Film.
Esther Fowler
Born and raised in Central Scotland. Initially started out as a performer from a dance background. Educated at Telford College gaining an HND in Musical Theatre and then studied at the London School of Physical Theatre, summer 2007. In 2009 gained a BA (hons) in Drama and Theatre Arts at Queen Margaret University specialising in Theatre Producing. Has produced theatre, live events and two short films; both screened at The Edinburgh Film House at the Edinburgh Film Festival. Is on the Board of Directors of Asylon Theatre Company; a company dedicated to delivering creative, thought–provoking theatrical works that stimulate people’s imagination and dreams. Has recently been working with Imaginate, an arts organisation that promotes and develops the performing arts for children and young people in Scotland, as the Delegate Coordinator for the Bank of Scotland’s Imaginate Children’s Festival, and continues to work with Imaginate as an associate. Is currently producing Ditto for Imaginate’s Artist in Residence Greg Sinclair as well as working for other Scottish Theatre Companies including Starcatchers and Frozen Charlotte, providing producing and administration support. Is about to start producing The Dark for Rob Evans, Writer in Residence at Imaginate.
Chrissy Jay
Born and raised in Buckinghamshire, Chrissy first studied Jewellery Design in Birmingham. Moving to London she rediscovered her love of live performance through a free events and education traineeship with the City of London Festival (www.colf.org) – involving 90+ events over 6 weeks including jazz, world music, contemporary dance and street theatre. She continues this association as freelance Events Manager. Joining Independent Opera at Sadler’s Wells (www.independentopera.com) in 2007, productions included The Sofa and The Departure (Maconchy) 2007 and Pelléas et Mélisande (Debussy) 2008 in the Lillian Baylis Theatre, Sadler’s Wells, and a concert of Orlando (Handel) in 2008 at Wigmore Hall. Chrissy took over as Administrator in 2009 and manages the on-going Artist Support programme. Other projects include a concert with the English Chamber Orchestra celebrating the opening of the V&A Jewellery Gallery and a concert at St James’s Church, Piccadilly with American a cappella group Penn Masala. Chrissy is grateful for the support of an Independent Opera Producers Fellowship.
Anthea Lewis
Anthea trained at The Northern School of Contemporary Dance, before receiving a full scholarship to study at the Jose Limon Dance Foundation in New York. Since graduating she has worked in theatre and dance with: Jagged Antic, Future Cinema, Oily Cart and Hauser Theatre. In 2007 she was commissioned by East London Dance to choreograph a duet to launch the start of an annual festival called “Two’s A Company”. Anthea has taught children’s movement and dance classes for Moving East and the Young Dancers Programme at The Place. She was Rehearsal Director for “Dance Moves”, a project that saw the collaboration between the YDP and musicians from The Royal College of Music. She has done Movement Direction for a documentary by Redoka Productions and a Play written for the Young Actors Company at Stratford Theatre Royal. She is currently performing with Belgian based company SOIT under the direction of Hans Van den Broeck.
Moira Marin
Italian. Born/raised Lova-Venice. Educated Mestre-Venice /Cambridge/London. Ballet/ Ball room Dancer-performance early childhood. Living in London since 1998. Mother of two, Nicole 7, Alessandra 6 years old. -90s Studies / high school (French, English and Economic) / developed interests in the Arts: Japanese art / culture, Martial Arts teacher-styles Wado-Ryu-Okinawa Wado-Academy-Sensei Shiomitsu; JuJitsu-Liverpool WJJF- Sensei Robert Clark .... 2000-05 Studied -History of Modern Art and Japonisme (BA)-tutor Prof Simon Shaw Miller; combined Visual Arts with business management studies (MBA certificate). 2005 to date established/directing company Moira Marin Finance and Business Management Ltd (www.mmarin.com) liaising with international as well as UK clients - Architectural, Art, Fashion and Interior Design sectors. 2007 Fund raising conference Sciartmet (www.sciartmet.com). 2009-10 Assisting Professor Mark Komissarov founder- Methodology for developing a new approach for visual information cognition (www.randi.org); collaborating MJE production Carol Winter-pantomime The Snow White and the Seven Designers performing at the Garrick theatre (www.dementiauk.org)
Chris Mellor
Chris has been Artistic Director of the Cockpit Theatre, Harrow Arts Centre and All Change; and Strategic Cultural Advisor to the newly producing HM Theatre Aberdeen, and the Blackpool Grand. He is presently assisting 14 Camden theatres in producing new digital Live Streaming work to engage new audiences, as part of his strategic work as the Senior Arts Development Officer for the London Borough of Camden. Chris founded the Camden Theatre Consortium, which helps venues and emerging creative producers to work smarter in a recession, through a supporter's website and a rehearsal space time bank. He has had extensive experience as an independent producer in the fringe sector, and has produced at the Etcetera Theatre and recently at the New Diorama Theatre with a show based on the MP expense scandal. Chris is a trustee of the Actors Centre and serves on the board of the Dukes Theatre Lancaster. He is also an advisor to Voluntary Arts England and to Arts Council England London
Esther Nissard
Born, raised and educated between France, the US, and the Caribbean. Studied political sciences for the last 5 years. Terrified of a stage until was forced to get on one at the age of 15 and never got out... Since then, created amateur Theatre Companies wherever I landed and lead them (more recently: 5 Women wearing the same dress by Allan Ball). I taught, fundraised, produced, marketed, communicated, directed, set and costume designed, prop searched...Wrote a short play in three parts for a school show. Wrote my Master’s thesis on the French theatre landscape and the question of fundraising for a show for subsidised and non subsidised theatres. Spent seven months in Spain in 2008-9 working for the French Institute of Barcelona as a Cultural Assistant where I planned, communicated and organised cultural and live performance events. Spent six months in London in 2009 working as a Production Assistant for a future musical called “1916”; and as a set designer assistant on two shows called “Estranged” and “Beyond flesh and blood”, featured at the Courtyard Theatre and the Tabard theatre.
Ine van Riet
Born in Hasselt, Belgium; raised in Hong Kong and Budapest. Has a BA in Drama and English and American Literature from the University of Kent. Spent the last years of school working in a day care, giving drama workshops to children and organising aid for children in Santo Tomas, Nicaragua. Wrote and directed children’s musical ‘Once upon…it went wrong!’ 2007. Stage Manager for ‘Compromised Immunity’ 2007, ‘Dwelling’ 2008 and ‘House of Illusions’ 2008. Assistant Stage Manager during the Royal Rajasthan Gala held in the Banqueting House, (London 2009) hosted by Sigourney Weaver and Kabir Badi. Production Manager for T:24 show ‘The Resistible Rise of Arturo Ui’ (Gulbenkian Theatre 2010). Event co-ordinator during the European School of Mol’s 50th Anniversary celebrations, including a performance by the Backyard Big Band with special guest: Thijs Van Leer. Current Co-organiser of the school’s Summer Camp and creative mind behind yearly productions.
^^^^^^^^^^^^^^^^^
Thursday, 15 April 2010
Spring and Summer Terms 2010 Programme Details
^^^^^^^^^^^^^^^^^^^^
During these two terms the Birkbeck Creative Producers had classes and sessions with
Tim Jones & Annette Mees
about their acclaimed work with Coney
(Tim returned to take several further classes later in these two terms, including sessions on the evaluation of projects and a case study of his work with The Red Room)
Jackie Elliman (Legal Officer ITC)
two sessions on 'Employment Law' and 'Setting up a Company'
Simon Pittman (Creative Learning Associate, Frantic Assembly)
on devised theatre
Laura Kriefman (Creative Producer, Tristan Bates Theatre)
on programming, programmers and pitching work
Julius Green (Producer, Bill Kenwright Ltd)
continuing his detailed work on developing productions and creative teams, and in the Summer Term an intense series of sessions on the practical aspects of being a professional producer
Neil Laidlaw (NML Productions)
continuing on the work of the independent producer and in particular 'marketing on no money'
Lyn Gardner (The Guardian)
on writing a high-profile review
George Perrin and James Mansfield
the new artistic directors of Paines Plough
Mary Caws, Ali Fellows and Alix Hearn
senior managers at the Theatre Royal Stratford East
Jonathan Kennedy
Executive Director of TARA
Chloe Dear of Iron Oxide
on her recent large scale projects (including the forthcoming CARGO)
Dr Fleur Rothschild
continuing from last term on research and research presentation
Rachel Feuchtwang (Executive Producer of ‘motiroti’)
on international aspects of producing and planning
Rachel Tackley (Director, English Touring Theatre)
on co-production and touring
Karen Poley
on the practicalities of outdoor performance
Louise Jeffreys (Barbican)
on fesival programming and planning
Hilary Salmon (BBC TV Executive Producer)
on working with writers
Andrew McKinnon (Programme Leader)
on audiences and communities, creative contexts, support structures; and also several private sessions with students tailored to individual needs
Students also attended
'Blood Brothers' at the Phoenix Theatre
‘Devoted and Disgruntled’ at the end of January
a production at Tristan Bates Theatre
Filter’s Three Sisters at the Lyric Hammersmith
In addition each student took an individually chosen MA Option offered by the Department of English and Humanities during the whole of the Spring Term. This year their choices include Playwriting, Screenwriting, Life Writing, Literature of Elizabethan London, The Early Modern City and Spanish Golden Age Painting.
For updated information about the MA application process for 2010-11, please go to
http://www.bbk.ac.uk/eh/programmes/postgraduate/ma_creative_producing
^^^^^^^^^^^^^^^^^^^
During these two terms the Birkbeck Creative Producers had classes and sessions with
Tim Jones & Annette Mees
about their acclaimed work with Coney
(Tim returned to take several further classes later in these two terms, including sessions on the evaluation of projects and a case study of his work with The Red Room)
Jackie Elliman (Legal Officer ITC)
two sessions on 'Employment Law' and 'Setting up a Company'
Simon Pittman (Creative Learning Associate, Frantic Assembly)
on devised theatre
Laura Kriefman (Creative Producer, Tristan Bates Theatre)
on programming, programmers and pitching work
Julius Green (Producer, Bill Kenwright Ltd)
continuing his detailed work on developing productions and creative teams, and in the Summer Term an intense series of sessions on the practical aspects of being a professional producer
Neil Laidlaw (NML Productions)
continuing on the work of the independent producer and in particular 'marketing on no money'
Lyn Gardner (The Guardian)
on writing a high-profile review
George Perrin and James Mansfield
the new artistic directors of Paines Plough
Mary Caws, Ali Fellows and Alix Hearn
senior managers at the Theatre Royal Stratford East
Jonathan Kennedy
Executive Director of TARA
Chloe Dear of Iron Oxide
on her recent large scale projects (including the forthcoming CARGO)
Dr Fleur Rothschild
continuing from last term on research and research presentation
Rachel Feuchtwang (Executive Producer of ‘motiroti’)
on international aspects of producing and planning
Rachel Tackley (Director, English Touring Theatre)
on co-production and touring
Karen Poley
on the practicalities of outdoor performance
Louise Jeffreys (Barbican)
on fesival programming and planning
Hilary Salmon (BBC TV Executive Producer)
on working with writers
Andrew McKinnon (Programme Leader)
on audiences and communities, creative contexts, support structures; and also several private sessions with students tailored to individual needs
Students also attended
'Blood Brothers' at the Phoenix Theatre
‘Devoted and Disgruntled’ at the end of January
a production at Tristan Bates Theatre
Filter’s Three Sisters at the Lyric Hammersmith
In addition each student took an individually chosen MA Option offered by the Department of English and Humanities during the whole of the Spring Term. This year their choices include Playwriting, Screenwriting, Life Writing, Literature of Elizabethan London, The Early Modern City and Spanish Golden Age Painting.
For updated information about the MA application process for 2010-11, please go to
http://www.bbk.ac.uk/eh/programmes/postgraduate/ma_creative_producing
^^^^^^^^^^^^^^^^^^^
Sunday, 20 December 2009
FAQs – The Application Process
^^^^^^^^^^^^^^^^^^^
The application process is formally explained on
http://www.bbk.ac.uk/eh/programmes/postgraduate/ma_creative_producing
Always consult this formal explanation before making an application
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What do you look for in potential students?
We acknowledge the value of professional and life experience as well as formal academic qualifications.
We expect you to have had enough previous experience of theatre or live performance in its widest sense (e.g., events, music, outdoor performance, street arts, festivals, etc, etc, etc.) to allow you to appreciate the realities of life in the industry.
We also expect you to have adequate basic computer / IT skills, in particular a basic working knowledge of Microsoft Excel and PowerPoint.
Your previous experience may or may not include producing. The Programme does not require a minimum level of producing experience before admission.
The MA in Creative Producing for Theatre and Live Performance is a focussed programme specifically intended for those who want to become professional creative producers. It is not an arts management or arts administration course. If you are looking for such a course at Birkbeck please go to http://www.bbk.ac.uk/study/all_courses/artsmanagement.html
How do I apply?
Fill in a Birkbeck postgraduate application form online. There are separate forms for full-time and part-time attendance. These are general application forms for all postgraduate courses at Birkbeck College and should be completed as fully as possible. With regard to the section on Professional Experience, remember that your CV/resumé will supplement the brief summary details you can give here.
What kind of referees do you need?
At least one of your referees MUST be able to supply adequate information about your experience of theatre and/or live performance.
The status or job-title of this Referee is much less important than her/his ability to testify to this experience, or other relevant experience you may have had.
Remember to supply telephone numbers and email addresses for both your referees.
What else do you need?
In addition to the completed application form you must provide us with your up-to-date CV/resumé and a ‘supporting statement’.
Why do you need my CV/resumé?
We need to know details of all your creative experience, including any experience you have had of theatre and/or live performance, not just any producing experience you might have had.
What is the ‘supporting statement’?
In addition to completing the standard Birkbeck application form you must also respond in writing to specific questions about your experience of and commitment to theatre or live performance, and your ambitions.
The ‘supporting statement’ consists of your responses to these three questions.
How do I complete the ‘supporting statement’?
You respond to each of the following three questions.
They are designed to provide additional information about your level of experience of theatre and/or performance and about your aims, interests and concerns as a future professional creative producer.
Your responses are significant and will be fully taken into account by Selection Panels.
Each question should be answered in not more than 500 words, but your answers can be shorter than this if you wish!
1. Describe a theatre or live performance project, large or small, that you want to produce.
2. What do you believe is the role of a creative producer when working with actors, performers, or other artistic collaborators?
3. If you graduate from this Programme in 2011, what do you see yourself doing in five years time?
Please note that, contrary to what is said on the application forms, you are not expected to confine this ‘supporting statement’ to one sheet.
There are no ‘correct’ answers to any of these questions.
We expect applicants to reveal a wide range of experience, opinions, interests and ambitions.
Be candid. We want to read your honest opinions and beliefs.
I would like to know more about the role of the creative producer. Is there any introductory reading I can do?
You might download or read online (from Arts Council England’s website) Kate Tyndall’s book The Producers: Alchemists of the Impossible (2007).
An older but equally interesting book is James Inverne’s The Impresarios (London: Oberon, 2000). It is often available in libraries.
The Programme Handbook includes a detailed booklist. http://www.bbk.ac.uk/eh/programmes/postgraduate/ma_creative_producing
English is not my first language. Is this a problem?
No, provided that you have certified evidence of your proficiency in spoken and written English at a minimum level of 7.5 on the International English Language Testing System (IELTS) or its equivalent.
Please note that you must achieve this level before you can be admitted to the Programme.
What if I have other questions about the application process that are not covered in these FAQs?
Contact the Programme Administrator - see the 'Welcome!' panel at the start of the blog.
What happens once I have sent in my completed application?
Each application is considered carefully.
Applicants who are considered to be suitably qualified will be invited to participate in the Programme’s selection process.
During that process each candidate’s potential to become a professional creative producer will be scrutinised and assessed.
For more information about the Selection Process please see ‘FAQs – The Selection Process’
^^^^^^^^^^^^^^^^^^^
The application process is formally explained on
http://www.bbk.ac.uk/eh/programmes/postgraduate/ma_creative_producing
Always consult this formal explanation before making an application
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What do you look for in potential students?
We acknowledge the value of professional and life experience as well as formal academic qualifications.
We expect you to have had enough previous experience of theatre or live performance in its widest sense (e.g., events, music, outdoor performance, street arts, festivals, etc, etc, etc.) to allow you to appreciate the realities of life in the industry.
We also expect you to have adequate basic computer / IT skills, in particular a basic working knowledge of Microsoft Excel and PowerPoint.
Your previous experience may or may not include producing. The Programme does not require a minimum level of producing experience before admission.
The MA in Creative Producing for Theatre and Live Performance is a focussed programme specifically intended for those who want to become professional creative producers. It is not an arts management or arts administration course. If you are looking for such a course at Birkbeck please go to http://www.bbk.ac.uk/study/all_courses/artsmanagement.html
How do I apply?
Fill in a Birkbeck postgraduate application form online. There are separate forms for full-time and part-time attendance. These are general application forms for all postgraduate courses at Birkbeck College and should be completed as fully as possible. With regard to the section on Professional Experience, remember that your CV/resumé will supplement the brief summary details you can give here.
What kind of referees do you need?
At least one of your referees MUST be able to supply adequate information about your experience of theatre and/or live performance.
The status or job-title of this Referee is much less important than her/his ability to testify to this experience, or other relevant experience you may have had.
Remember to supply telephone numbers and email addresses for both your referees.
What else do you need?
In addition to the completed application form you must provide us with your up-to-date CV/resumé and a ‘supporting statement’.
Why do you need my CV/resumé?
We need to know details of all your creative experience, including any experience you have had of theatre and/or live performance, not just any producing experience you might have had.
What is the ‘supporting statement’?
In addition to completing the standard Birkbeck application form you must also respond in writing to specific questions about your experience of and commitment to theatre or live performance, and your ambitions.
The ‘supporting statement’ consists of your responses to these three questions.
How do I complete the ‘supporting statement’?
You respond to each of the following three questions.
They are designed to provide additional information about your level of experience of theatre and/or performance and about your aims, interests and concerns as a future professional creative producer.
Your responses are significant and will be fully taken into account by Selection Panels.
Each question should be answered in not more than 500 words, but your answers can be shorter than this if you wish!
1. Describe a theatre or live performance project, large or small, that you want to produce.
2. What do you believe is the role of a creative producer when working with actors, performers, or other artistic collaborators?
3. If you graduate from this Programme in 2011, what do you see yourself doing in five years time?
Please note that, contrary to what is said on the application forms, you are not expected to confine this ‘supporting statement’ to one sheet.
There are no ‘correct’ answers to any of these questions.
We expect applicants to reveal a wide range of experience, opinions, interests and ambitions.
Be candid. We want to read your honest opinions and beliefs.
I would like to know more about the role of the creative producer. Is there any introductory reading I can do?
You might download or read online (from Arts Council England’s website) Kate Tyndall’s book The Producers: Alchemists of the Impossible (2007).
An older but equally interesting book is James Inverne’s The Impresarios (London: Oberon, 2000). It is often available in libraries.
The Programme Handbook includes a detailed booklist. http://www.bbk.ac.uk/eh/programmes/postgraduate/ma_creative_producing
English is not my first language. Is this a problem?
No, provided that you have certified evidence of your proficiency in spoken and written English at a minimum level of 7.5 on the International English Language Testing System (IELTS) or its equivalent.
Please note that you must achieve this level before you can be admitted to the Programme.
What if I have other questions about the application process that are not covered in these FAQs?
Contact the Programme Administrator - see the 'Welcome!' panel at the start of the blog.
What happens once I have sent in my completed application?
Each application is considered carefully.
Applicants who are considered to be suitably qualified will be invited to participate in the Programme’s selection process.
During that process each candidate’s potential to become a professional creative producer will be scrutinised and assessed.
For more information about the Selection Process please see ‘FAQs – The Selection Process’
^^^^^^^^^^^^^^^^^^^
FAQs – The Selection Process
^^^^^^^^^^^^^^^^^^^
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What happens during the selection process?
If you are invited to participate in the selection process then you will be given a date and time to attend an interview and undertake a practical exercise at Birkbeck in Bloomsbury. These interviews are usually on a Saturday but special arrangements can be made for those who are unavailable at weekends.
Do you interview anywhere else apart from London?
Not at present.
Can I do an interview by video or videophone?
No.
How many people will interview me?
Usually two – the Programme Director and a professional producer or practitioner.
A current or recent student may also be present.
How long will the process last?
The whole process should take about 90 minutes. It is in three parts.
Part A - You begin with an interview and discussion (about 30 minutes).
Then you are given a practical exercise to consider.
Part B - You are allowed 30 minutes alone to look at this exercise.
Part C - You return to discuss the exercise and ask / answer questions for a further 30 minutes.
How do I prepare for the interview?
Think about why you want to come onto the programme. Think about what kinds of theatre / live performance you enjoy and why you enjoy them.
We will talk to you about your interest in live performance and producing and your experience as laid out on your CV/resumé.
We may ask you about performances you have attended.
We may discuss some of the things you have said in your ‘supporting statement’.
What is the ‘practical exercise’?
At the end of Part A we give you a short paper outlining a typical scenario that a creative producer might encounter. We ask you to take about 30 minutes to consider this alone (Part B) and then come back and discuss it with us (Part C). As the exercise includes a budget you should bring a calculator.
What happens after the selection process?
We contact you by email with our decision, usually within two or three weeks or so.
^^^^^^^^^^^^^^^^^^^
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What happens during the selection process?
If you are invited to participate in the selection process then you will be given a date and time to attend an interview and undertake a practical exercise at Birkbeck in Bloomsbury. These interviews are usually on a Saturday but special arrangements can be made for those who are unavailable at weekends.
Do you interview anywhere else apart from London?
Not at present.
Can I do an interview by video or videophone?
No.
How many people will interview me?
Usually two – the Programme Director and a professional producer or practitioner.
A current or recent student may also be present.
How long will the process last?
The whole process should take about 90 minutes. It is in three parts.
Part A - You begin with an interview and discussion (about 30 minutes).
Then you are given a practical exercise to consider.
Part B - You are allowed 30 minutes alone to look at this exercise.
Part C - You return to discuss the exercise and ask / answer questions for a further 30 minutes.
How do I prepare for the interview?
Think about why you want to come onto the programme. Think about what kinds of theatre / live performance you enjoy and why you enjoy them.
We will talk to you about your interest in live performance and producing and your experience as laid out on your CV/resumé.
We may ask you about performances you have attended.
We may discuss some of the things you have said in your ‘supporting statement’.
What is the ‘practical exercise’?
At the end of Part A we give you a short paper outlining a typical scenario that a creative producer might encounter. We ask you to take about 30 minutes to consider this alone (Part B) and then come back and discuss it with us (Part C). As the exercise includes a budget you should bring a calculator.
What happens after the selection process?
We contact you by email with our decision, usually within two or three weeks or so.
^^^^^^^^^^^^^^^^^^^
FAQs – Full-Time or Part-Time?
^^^^^^^^^^^^^^^^^^^
This section draws on the ‘Rough Guide’ to the programme. If you want a copy of this guide please contact the Programme Administrator (see the 'Welcome!' panel at the start of the blog).
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What does ‘full-time’ attendance involve?
For full-time students the Programme covers one full year of study from September to September. Teaching sessions happen on Tuesdays Wednesdays and Thursdays - afternoons and evenings – mostly during the standard Birkbeck terms, but note the description of the longer autumn term below. Afternoon sessions are usually 1300-1700. Evenings are usually 1800-2100. Some classes are shorter than three hours. The number of sessions will vary each teaching week, averaging out over the year at about four per week.
These teaching sessions are supplemented by your private work and study originating from them and/or as preparation for future sessions. You will also be expected to keep up to date with events in the industry and the sector. You may sometimes need to devote evening or weekend hours to this private work and study.
What does ‘part-time’ attendance involve?
It is possible for a student to study ‘half-time’ by splitting the Programme into two halves and taking it over two years. However this still requires full-time attendance for Units when it is appropriate during these two years. (This is explained further below.)
PLEASE NOTE THAT IT IS NOT POSSIBLE TO TAKE THE MA CREATIVE PRODUCING BY EVENING ATTENDANCE ONLY.
What is the teaching pattern of the Autumn Term?
Attendance begins in late September, shortly before the start of the standard Birkbeck term.
What is the teaching pattern of the Spring Term?
The standard Birkbeck term dates apply. Units One and Four are taught on Tuesday, Wednesday and Thursday afternoons only. Unit Five is taught on one evening only per week.
What is the teaching pattern of the Summer Term?
The standard Birkbeck term dates apply. Units One and Six are taught on Tuesday, Wednesday and Thursday afternoons and evenings for the first five or six weeks of the term.
As Unit Seven is almost entirely dealt with on an individual basis between each student and the Programme Leader, students are free from early June to undertake the work chosen for Unit Seven. This allows the possibility of a twelve-week secondment for these students who choose that pathway for Unit Seven.
When do the Unit Assessments take place?
Each Unit’s Assessment Outcomes include a Practical Exercise or Exercises which will be set during the Unit and may also be assessed during the Unit. Each Unit's Formal Assessments are delivered as follows
Unit One - (assessed jointly with Unit Seven - see below)
Unit Two - during Autumn Term
Unit Three - at or near the start of Spring Term
Unit Four - at or near the start of Summer Term
Unit Five - at or near the start of Summer Term
Unit Six - during Summer Term
Unit Seven - during two consecutive days in mid/late September (Unit Seven is assessed with Unit One)
When is the final assessment of the programme?
The final assessment of the Programme, for Units One and Seven combined, will take place at some point in the second half of September. Two days are set aside for this process. The dates will be notified in good time.
When is the graduation ceremony for the programme?
Usually in late March.
For further details see ‘FAQs – Full-Time Attendance’ or ‘FAQs – Part-Time Attendance’ as appropriate to your circumstances.
^^^^^^^^^^^^^^^^^^^
This section draws on the ‘Rough Guide’ to the programme. If you want a copy of this guide please contact the Programme Administrator (see the 'Welcome!' panel at the start of the blog).
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What does ‘full-time’ attendance involve?
For full-time students the Programme covers one full year of study from September to September. Teaching sessions happen on Tuesdays Wednesdays and Thursdays - afternoons and evenings – mostly during the standard Birkbeck terms, but note the description of the longer autumn term below. Afternoon sessions are usually 1300-1700. Evenings are usually 1800-2100. Some classes are shorter than three hours. The number of sessions will vary each teaching week, averaging out over the year at about four per week.
These teaching sessions are supplemented by your private work and study originating from them and/or as preparation for future sessions. You will also be expected to keep up to date with events in the industry and the sector. You may sometimes need to devote evening or weekend hours to this private work and study.
What does ‘part-time’ attendance involve?
It is possible for a student to study ‘half-time’ by splitting the Programme into two halves and taking it over two years. However this still requires full-time attendance for Units when it is appropriate during these two years. (This is explained further below.)
PLEASE NOTE THAT IT IS NOT POSSIBLE TO TAKE THE MA CREATIVE PRODUCING BY EVENING ATTENDANCE ONLY.
What is the teaching pattern of the Autumn Term?
Attendance begins in late September, shortly before the start of the standard Birkbeck term.
What is the teaching pattern of the Spring Term?
The standard Birkbeck term dates apply. Units One and Four are taught on Tuesday, Wednesday and Thursday afternoons only. Unit Five is taught on one evening only per week.
What is the teaching pattern of the Summer Term?
The standard Birkbeck term dates apply. Units One and Six are taught on Tuesday, Wednesday and Thursday afternoons and evenings for the first five or six weeks of the term.
As Unit Seven is almost entirely dealt with on an individual basis between each student and the Programme Leader, students are free from early June to undertake the work chosen for Unit Seven. This allows the possibility of a twelve-week secondment for these students who choose that pathway for Unit Seven.
When do the Unit Assessments take place?
Each Unit’s Assessment Outcomes include a Practical Exercise or Exercises which will be set during the Unit and may also be assessed during the Unit. Each Unit's Formal Assessments are delivered as follows
Unit One - (assessed jointly with Unit Seven - see below)
Unit Two - during Autumn Term
Unit Three - at or near the start of Spring Term
Unit Four - at or near the start of Summer Term
Unit Five - at or near the start of Summer Term
Unit Six - during Summer Term
Unit Seven - during two consecutive days in mid/late September (Unit Seven is assessed with Unit One)
When is the final assessment of the programme?
The final assessment of the Programme, for Units One and Seven combined, will take place at some point in the second half of September. Two days are set aside for this process. The dates will be notified in good time.
When is the graduation ceremony for the programme?
Usually in late March.
For further details see ‘FAQs – Full-Time Attendance’ or ‘FAQs – Part-Time Attendance’ as appropriate to your circumstances.
^^^^^^^^^^^^^^^^^^^
FAQs – Full-Time Attendance Details
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What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What would my pattern of attendance be as a ‘full-time’ student during ....
..... September till December?
You will be asked to do some preparation before classes formally start towards the end of September - the Unit One Induction (two weeks). Unit Two then runs through until early November and is followed by Unit Three, which runs until the end of term in mid-December.
..... Spring Term?
Whatever Option you select for Unit Five will have one taught session per week, in the evening of Tuesday, Wednesday or Thursday, with an assessment deadline at the start of the Summer Term. As your fellow-students will be likely to be taking a range of different options, taught on different evenings, Units One and Four will be taught only in afternoon sessions this term on a combination of Tuesdays, Wednesdays and Thursdays.
..... Summer Term and beyond?
Unit Six will be taught in late April and May. As Unit Seven is almost entirely dealt with on an individual basis between each student and the Programme Leader, you will be free from around early June to undertake the work you have chosen to do for Unit Seven. This allows the possibility of a twelve-week secondment for these students who choose that pathway for Unit Seven.
The Final Assessment (for Units One and Seven combined) will take place at some point in the second half of September.
^^^^^^^^^^^^^^^^^^^
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What would my pattern of attendance be as a ‘full-time’ student during ....
..... September till December?
You will be asked to do some preparation before classes formally start towards the end of September - the Unit One Induction (two weeks). Unit Two then runs through until early November and is followed by Unit Three, which runs until the end of term in mid-December.
..... Spring Term?
Whatever Option you select for Unit Five will have one taught session per week, in the evening of Tuesday, Wednesday or Thursday, with an assessment deadline at the start of the Summer Term. As your fellow-students will be likely to be taking a range of different options, taught on different evenings, Units One and Four will be taught only in afternoon sessions this term on a combination of Tuesdays, Wednesdays and Thursdays.
..... Summer Term and beyond?
Unit Six will be taught in late April and May. As Unit Seven is almost entirely dealt with on an individual basis between each student and the Programme Leader, you will be free from around early June to undertake the work you have chosen to do for Unit Seven. This allows the possibility of a twelve-week secondment for these students who choose that pathway for Unit Seven.
The Final Assessment (for Units One and Seven combined) will take place at some point in the second half of September.
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FAQs – Part-Time Attendance Details
^^^^^^^^^^^^^^^^^^^
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What would my pattern of attendance be as a ‘part-time’ student during ....
..... MY FIRST ACADEMIC YEAR; September till December?
You will be asked to do some preparation before classes formally start towards the end of September - the Unit One Induction (two weeks). Unit Two then runs through until early November and is followed by Unit Three, which runs until the end of term in mid-December.
..... MY FIRST ACADEMIC YEAR; Spring Term?
You take Unit Five only this term, which is likely, dependent on the Option you select, to have one taught session per week in the evening of Tuesday, Wednesday or Thursday, with an assessment deadline at the start of the Summer Term.
..... MY FIRST ACADEMIC YEAR; Summer Term?
You do not attend.
..... MY SECOND ACADEMIC YEAR; September till December?
You do not attend.
..... MY SECOND ACADEMIC YEAR; Spring Term?
You attend for Units One and Four, which will be taught only in afternoon sessions this term on a combination of Tuesdays, Wednesdays and Thursdays.
..... MY SECOND ACADEMIC YEAR; Summer Term and beyond?
Unit Six will be taught in late April and May. As Unit Seven is almost entirely dealt with on an individual basis between each student and the Programme Leader, you will be free from around early June to undertake the work you have chosen to do for Unit Seven. This allows the possibility of a twelve-week secondment for these students who choose that pathway for Unit Seven.
The Final Assessment (for Units One and Seven combined) will take place at some point in the second half of September.
^^^^^^^^^^^^^^^^^^^
What follows is intended to help you acquire a general understanding of the programme. Birkbeck reserves the right to vary without notice the contents of courses or parts of courses and to modify facilities and arrangements for students. Applicants and students should confirm the up-to-date position when they need to know it.
What would my pattern of attendance be as a ‘part-time’ student during ....
..... MY FIRST ACADEMIC YEAR; September till December?
You will be asked to do some preparation before classes formally start towards the end of September - the Unit One Induction (two weeks). Unit Two then runs through until early November and is followed by Unit Three, which runs until the end of term in mid-December.
..... MY FIRST ACADEMIC YEAR; Spring Term?
You take Unit Five only this term, which is likely, dependent on the Option you select, to have one taught session per week in the evening of Tuesday, Wednesday or Thursday, with an assessment deadline at the start of the Summer Term.
..... MY FIRST ACADEMIC YEAR; Summer Term?
You do not attend.
..... MY SECOND ACADEMIC YEAR; September till December?
You do not attend.
..... MY SECOND ACADEMIC YEAR; Spring Term?
You attend for Units One and Four, which will be taught only in afternoon sessions this term on a combination of Tuesdays, Wednesdays and Thursdays.
..... MY SECOND ACADEMIC YEAR; Summer Term and beyond?
Unit Six will be taught in late April and May. As Unit Seven is almost entirely dealt with on an individual basis between each student and the Programme Leader, you will be free from around early June to undertake the work you have chosen to do for Unit Seven. This allows the possibility of a twelve-week secondment for these students who choose that pathway for Unit Seven.
The Final Assessment (for Units One and Seven combined) will take place at some point in the second half of September.
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Tuesday, 24 November 2009
Class of 2010
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Details of SABA BURALI, SARAH CLEWS, SOPHIE LARSMON, THERESA PINE, ROWAN RUTTER, CLARE SHUCKSMITH, ROISIN STIMPSON and LEO WOOD are available at
http://www.bbk.ac.uk/english/alumni/BirkbeckCreativeProducingYearbook20101.pdf
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Details of SABA BURALI, SARAH CLEWS, SOPHIE LARSMON, THERESA PINE, ROWAN RUTTER, CLARE SHUCKSMITH, ROISIN STIMPSON and LEO WOOD are available at
http://www.bbk.ac.uk/english/alumni/BirkbeckCreativeProducingYearbook20101.pdf
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