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ANNEX (A)
Number of peer reviewed outputs published that relate to CETL work
Bate, J. and S. Brock. ‘Teaching Shakespeare (and More) through a Collaboration between a
University and an Arts Organization’, Pedagogy: Critical Approaches to Teaching Literature,
Language, Composition, and Culture 7.3 (2007): 341-358;
Warwick
Campbell, R. J., W. Robinson, J. Neelands, R. Hewston and L. Mazzoli. ‘Personalised Learning:
Ambiguities in Theory and Practice’. British Journal of Educational Studies 55.2 (2007): 135154;
Monk, N. et al. Open Space learning: A Study of Interdisciplinary Pedagogy (London:
Bloomsbury Academic, forthcoming);
Monk, N. and J. Heron, ‘Staging the Witches’. Shakespeare Forum: Page, Stage Engage, New
York University, April 2008;
Neelands, Jonothan. ‘Acting Together: Ensemble as a Democratic Process in Arts and Life’,
Research in Drama Education 14:2 (2009): 173-189;
-- ‘The Art of Togetherness: Reflections on Some Essential Artistic and Pedagogic Qualities of
Drama Curricula’. NJ Drama Australia Journal 33.1 (2009): 9-18;
--, N. Monk, J. Heron. ‘The Dramatised University: The Uses and Values of Applied
Performance and Rehearsal Room Approaches across the HE Curriculum’. IUTA
(International University Theatre Association) 8th World Congress. De Montfort University,
June 2010;
--‘Getting off the Subject: English Drama Media and the Commonwealth of Culture’.
Imagination, Innovation, Creativity: Re-visioning English Education. Ed. J. Manuel, P. Brock,
D. Carter, W Sawyer. Sydney: Phoenix Education, 2009;
--‘Taming the Political: The Struggle over Recognition in the Politics of Applied Theatre’.
Research in Drama Education 12.3 (2007): 305-317;
-- and J. Watanabe. Using Drama as a Medium of Instruction. Tokyo: Bansei Shobo
Publications, 2009;
Rutter, Carol. ‘Playing Hercules; Or, Labouring in My Vocation’, Teaching Shakespeare:
Passing It On. Ed. G.B. Shand. Oxford, Blackwell, 2009. pp. 217-231;
--, J. Heron and T. Cornford ‘Object/Archive/Script: Practice-based Research in the Teaching
of Shakespeare’. Renaissance Society of America Conference, Venice, April 2010
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Up to 5 other outputs that have not been peer reviewed:
Blegvad, Peter. Imagine, Observe, Remember, Part 1 of The Psychonaut’s Friend, A Handbook
for Mental Travellers. Coventry: Warwick University, 2009;
Howard, T. ‘A Slave’s Son at Stratford: Paul Robeson 1898-1976’. Touring Exhibition
exhibiting at Warwick Arts Centre; Northern Stage Newcastle-upon-Tyne; Liverpool
Playhouse; Shakespeare’s Globe London, 2009-2010;
Irish, Tracy, Classroom Research: Findings from Action Research Projects Carried out by
Teachers during 2006/7 to Assess the Effectiveness of Theatre-based Approaches to Teaching
Shakespeare in the English/Literacy Classroom. 2008.
http://www.rsc.org.uk/standupforshakespeare/downloads/rsc_sufs_classroom_research.pd
f Accessed 03/03/2010;
Morley, David. ed. Dove Release: New Flights and Voices. (Tonbridge, Kent: Worple Press,
2010);
RePerforming Performance website
http://www2.warwick.ac.uk/fac/cross_fac/capital/reperforming/
Accessed 03/03/2010
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APPENDIX 1: Works Cited
Black, P., Harrison, C., Lee, C., Marshall, B., & Wiliam, D. ‘Working Inside the Black Box:
Assessment for Learning in the Classroom’. Phi Delta Kappan 86.1 (2004): 8–21;
Bruner, Jerome. Actual Minds, Possible Worlds. Cambridge MA: Harvard University
Press, 1986;
----- The Process of Education. Cambridge MA: Harvard University Press, 1978;
Beckett, Samuel. Worstward Ho! London: Grove Press, 1983;
Boyd Michael. The Stage, April 2, 2009. 10-11;
Clark, Andy. Being There: Putting Brain, Body and World Together Again. MIT
Press: Cambridge (MA), 1996;
Damasio, Antonio. The Feeling of What Happens: Body and Emotion in the Making of
Consciousness. New York: Barnes and Noble, 2000;
Department for Business, Innovation and Skills. Higher Ambitions: The Future of Universities
in the Knowledge Economy (Executive Summary). November 2009.
http://www.bis.gov.uk/wpcontent/uploads/publications/Higher-AmbitionsSummary.pdf Accessed 28/01/2010;
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans A. M. Sheridan-Smith.
Harmondsworth: Penguin, 1977;
Freire, Paulo, and Ira Shor. A Pedagogy of Liberation: Dialogues on Transforming
Education. New York: Bergin and Garvey, 1987;
Gardner, Howard. Frames of Mind: The Theory of Multiple Intelligences. New York:
Basic, 1985;
Jackson, Norman, M. Oliver, M. Shaw, and J. Wisdom, eds. Developing Creativity in
Higher Education: An Imaginative Curriculum. Routledge: London, 2006;
Kolb, David. A. Experiential Learning: Experience as the Source of Learning and
Development. Englewood Cliffs, NJ: Prentice Hall, 1984;
Lambert, Catherine. ‘Exploring New Learning and Teaching Spaces.’ Warwick
Interactions Journal 30.2 (2007): 1-6;
Lefebvre, Henri. The Production of Space. Trans. Donald Nicholson-Smith. Oxford:
Blackwell, 1991;
Newmann, Fred, and Associates. Authentic Achievement. San Francisco: Jossey-Bass, 1996;
Thew, Neil. Teaching Shakespeare: A Survey of the Undergraduate Level in Higher
Education. Report for The Higher Education Academy. 2006;
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Vygotsky, Lev. Mind in Society. Cambridge, MA: MIT Press, 1978.
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APPENDIX 2: Two-Year objectives (to July 2007)
1.1 Offer the workshop model of learning to students in selected modules in all
departments across the Faculty of Arts
Partly Achieved: Modules in the Department of English, open to students taking joint
courses with English (STPCPS, French, English, Philosophy and Literature, Film and Literature,
Italian, Creative Writing): ‘European Theatre’ and ‘Shakespeare from Page to Stage to Page’
1.2 Add a hands-on workshop strand as core component of 3rd year Shakespeare course
(220+ FTEs)
Achieved: All students offered at least one practical workshop instead of a seminar; from
2008 ‘Shakespeare without Chairs’ offered as an alternative to traditional seminars; from
2009 students offered practical, traditional and hybrid forms of seminar. (Approximately 200
FTEs annually.)
1.3 Create new interdisciplinary workshop-based module available across the disciplines in
the Faculty of Arts
Achieved: The Faust module, available across the University from 2009.
1.4 Develop new online teaching materials and methods within the School of Theatre
Studies and Department of English
Achieved: Histories of the performance by the RSC of 36 Shakespeare plays have been
prepared which contribute to the RSC Shakespeare individual play editions
www.rscshakespeare.co.uk
1.5 Substantial student contribution to RSC’s Complete Works Festival
Achieved: Production of Lope de Vega’s Capulets and Montagues involving a team of 22
students was performed at the Dell in Stratford-upon-Avon and in London at the GBS Studio
at RADA, 2006.
1.6 Begin new pedagogic research on the model of the rehearsal room experience with
English Subject Centre and Palatine; organising one major conference and a series of
seminars
Achieved:
a. With English Subject Centre co-organised a conference on Teaching Shakespeare,
Straford-upon-Avon, September 2006; contributed a panel at Renewals Conference,
July 2007
http://www.english.heacademy.ac.uk/renewals/programme/thursday/drama1.htm
b. Establishment of Space, Performance and Pedagogy group at Warwick which meets
termly.
1.7 Take the workshop roadshow to a minimum of 4, maximum of 8 other HE institutions
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Achieved:
a. Roadshow at Newcastle-upon-Tyne November 2006 during RSC residency consisting
of staff seminar; platform events for students; student practical workshop for 5 HEIs:
Sunderland, Teeside, Northumberland, York St John; Newcastle University plus
Newcastle College.
b. A three-day development project in June 2007 involving four members of staff from
Warwick and two from RSC Learning refined the workshop model for further
dissemination and a revised strategy was formulated for 2008-2010.
1.8 Give 2-6 staff members opportunity of holding Warwick/RSC Chair of Creativity.
(Changed to Fellowship in Creativity and Performance to avoid terms and conditions issues
arising from professorial title but with same salary and opened to external candidates to
encourage wider creative relationships for Warwick staff and students)
Achieved: Three fellowships: Paul Allen October to March 06/7; Patrice Naiambana (RSC)
April/May 07; Djanet Sears (RSC) June-July and October 2007. Notice required for
candidates in employment to organise leave resulted in slow take up.
1.9 Appoint Warwick\RSC International Playwright in Residence
Achieved: Adriano Shaplin appointed June 2006-2008. Contributed to MA module ‘The
Practice of Writing’ for Warwick Writing Programme; 2nd year module in Theatre Studies:
‘Writing for Performance’; module in Law: ‘Origins, Images and Cultures of English Law’. Led
a 3-week special project on his work in progress (Tragedy of Thomas Hobbes) and The
Apprentice for Artists, a 10-week workshop series; offered individual sessions for student
writers.
1.10 Give graduate students the opportunity to be involved with RSC research
development, particularly in relation to the RSC Shakespeare Complete Works edition
Partly Achieved: A PhD student in the Department of English was appointed Chief Associate
Editor of the edition.
1.11 Contribute staff expertise to the RSC Artists Development programme
Achieved: Regular lunchtime talks at the RSC for all RSC staff; special expert seminars for
rehearsing companies; a postgraduate award for RSC actors in the Teaching of Shakespeare
offered by the Institute of Education
Contribute to NAGTY and Warwick Arts Centre. (NAGTY reconstituted and left Warwick.
IGGY set up in its place)
Partly Achieved: The Director of the Arts Centre is a member of the CAPITAL Advisory Board.
Rehearsal space at the CAPITAL Centre’s new accommodation offered to companies visiting
the Arts Centre from 2007.
1.12 Play a major role in the establishment of the RSC Learning Network to include a
programme of student placements. (Student placements were not appropriate for the sort
of work required)
Achieved: CAPITAL funding supports the postgraduate training of English and Drama
teachers from RSC Learning and Performance Network schools. Student placements have
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worked well in other areas of the RSC, primarily providing language support for visiting
companies during the Complete Works Festival
http://www2.warwick.ac.uk/fac/cross_fac/capital/learning/blogs/
1.13 Developed a strategy for collaboration with local partners
Achieved: Collaborative events with Shakespeare Birthplace Trust (Great Shakespeare
Debate 2007) and the Shakespeare Institute (co-hosting the Teaching Shakespeare
conference 2006 and the 3rd British Shakespeare Association conference 2007). CAPITAL has
brokered the University’s strategic collaboration with the Shakespeare Birthplace Trust
1.14 Submitted at least one major research grant to the AHRC
Achieved: Submitted Becoming the RSC: An Oral History Project in September 2006.
Unsuccessful (N).
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APPENDIX 3: Five-Year objectives
2.1 Offer the ‘workshop model’ in all departments throughout the University.
Partly achieved: CAPITAL works with 11 departments out of 30, and across all four
faculties. See also 3.1.
2.2 Introduce ‘hands-on’ workshop strands as core components in other appropriate
modules in the Department of English and elsewhere in the Faculty of Arts – target 500
FTEs.
Achieved and extended beyond the Faculty of Arts.
a. 688 FTEs 2009/10. See 4.1 and 4.3.
b. The post of Artist in Residence was trialled for 2 years to support delivery, but the
best results have been achieved by CAPITAL’s staff collaborating directly with
course/module leaders.
2.3 Deliver a new inter-disciplinary workshop-based module, available across the Faculty
of Arts.
Achieved:
.
a. The Faust Project (see Glossary) devised by CAPITAL’s Lecturer: open to all secondyear students across the University, regardless of degree subject, was introduced in
2009/10 with support from the Reinvention Centre
b. ‘Shakespeare and the Law’ devised by CAPITAL’s Director with a colleague from the
School of Law. Open to third-year students in Law and English.
2.4 Deliver and disseminate new online teaching materials and methods in Theatre
Studies and English, and made relevant materials and methods available to other
departments internally and other institutions externally.
Achieved:
a. Re-Performing Performance project (see also 10.2).
b. Will@Warwick podcasts 2007-8
c. founder contributions to Warwick programmes on iTunes U since 2009 and
support for the creation of the University’s Digital Press through a Fellowship in
Creativity and Performance
d. Publications: See Annex A.
2.5 Deliver a student contribution to the Shakespeare Complete Works Festival, reviewed
its pedagogic as well as theatrical success, and inaugurate a structure for biennial
student festivals in Stratford.
Achieved:
a. CAPITAL’s production of Lope de Vega’s Capulets and Montagues ran alongside
the RSC’s Romeo and Juliet in 2006 as part of the Complete Works Fringe Festival
b. Since 2007 the RSC’s outdoor theatre space at The Dell, in Stratford-upon-Avon
has been dedicated to student and amateur Shakespeare.
CAPITAL Centre, CETL Final Self-evaluation.
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c. CAPITAL’s Company in Residence (see 12.2 below) was established in 2008 and
each year supports a Festival of New Work at Warwick and a full student production
of a selected text
d. CAPITAL supports up to two student performance projects each term, based on
work in the curriculum and producing learning materials.
e. CAPITAL provides modest funding towards the costs of Warwick student
productions selected for the National Student Drama Festival and the Edinburgh
Fringe Festival.
2.6 In collaboration with the English and Performing Arts Subject Centres disseminate
pedagogic research via journal, web site and print publication, with a major
international conference in Year 5 showcasing the work of the Centre.
Achieved: In the spirit of its founding paradigm of discovery through the creative process
CAPITAL has focussed on discipline-specific work rather than the dissemination of
pedagogical theory.
a. See Annex A for publications.
b. Creativity in Teaching and Learning Colloquium, September 2009 (see
1.3.b
c. International dissemination has been effected through interventions in subject
areas including conferences organised by CAPITAL: Beckett and the Brain; 3rd
International Shakespeare and Performance Colloquium; Beyond the Lyric; 4th
International Cormac McCarthy Conference.
2.7 Take the workshop roadshow to a further 12-18 other HEIs and undertake pilot
projects for its delivery to other groups, including business leaders and headteachers.
Collaborate with other parties, including the University’s new Leadership Institute.
Achieved:
a. The roadshow model, trialled in Newcastle in 2006, was not considered effective and
was replaced by a programme of conference presentations and events based on the
Warwick campus (see 1.3.a for details). The RSC’s education policy was revised in
2008 to focus on the 5-19 age group and this dissemination was no longer relevant to
their strategy;
b. CAPITAL staff will have presented at 14 conferences by July 2010 reaching
representatives of 40 HE institutions (see 1.3.b).
c. CAPITAL has worked with Warwick Business School Professional Programmes to
develop work with external companies using professional practitioners, and with the
Institute of Clinical Education using enactive methods in the training of GPs. See
d. RSC Learning and Performance Network has been the primary means of
dissemination to schools (4.2 for details).
2.8 Give a further 3-9 staff members of holding the Warwick/RSC Chair (now Fellowship) in
Creativity and Performance, and make available CPD opportunities for RSC Education
staff.
Achieved:
a. The roles of Artist in Residence and Researcher in Residence were created to involve
RSC staff beyond Education.
b. There have been 17 Fellows appointed in total to the end of March 2010: 7 from
Warwick; 6 from the RSC, 4 external.
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c. Outputs include: Passing On (ethnodrama project); Imagine, Observe, Remember
(devised performance piece and book); A Slave’s Son at Stratford: Paul Robeson
(exhibition and public events); Designing the Image (design project); a proposal for an
MA in Acting Shakespeare; RSC production of Othello.
2.9 Promote the performance of new work by the first RSC\Warwick International
Playwright in Residence (RWIPiR) and appointed the second holder to create a further
new piece of work and be available to Warwick Writing Programme students.
Achieved:
a. Adriano Shaplin’s (RWIPiR 2007-8) The Tragedy of Thomas Hobbes premiered by the
RSC at Wilton’s Music Hall in autumn 2008. The production played for 25
performances to 96% capacity audiences (5526 people). RWIPR led a term-long
workshop for students, ‘The Apprentice for Artists’, exploring alternative media for
writers.
b. Tarell McCraney (RWIPiR 2008-10)has directed the RSC’s Young Person’s Hamlet
which toured to 10 London primary and secondary schools and will open in
Stratford-upon-Avon in May 2010. He led a one-week workshop, ReCreating in Play,
and weekly Play/Read Club in Spring 2010, as well as offering individual support to
student writers.
2.10 Give graduate students the opportunity to be involved with RSC research
development, particularly in relation to online educational resources.
Achieved:
a. An application has been made by RSC and Institute of Education to the AHRC for
a collaborative PhD to assess the role of cultural organisations in education.
b. Two digital media interns were appointed in 2009/10 to create digital content
around the Young Person’s Hamlet and Antony and Cleopatra.
c. Warwick PhD students have worked as project manager for Professional
Development in the RSC Education Department and RSC Research Fellow
contributing to the RSC Shakespeare Complete Works.
2.11 Contribute further to the on-going development of NAGTY and the work of Warwick
Arts Centre (WAC).
Achieved: NAGTY was replaced by the International Gateway for Gifted Youth (IGGY) in
2008.
a. Contributed a course to IGGY on Performance and Myth in Summer 2009, as part
of CAPITAL’s widening participation work.
b. During refurbishment of the Arts Centre, rehearsal space at the CAPITAL Centre
offered to visiting companies, e.g. the RSC Othello company in 2009
c. A masterclass series using artists appearing at WAC was arranged in 2008. In
2009 CAPITAL coordinated and contributed to public events relating to the RSC’s
Othello.
2.12 Contribute further staff expertise to the RSC Artists’ Development programme and
develop a programme of public masterclasses.
Partly achieved: The reorganisation of RSC’s Events and Exhibitions Department in 2008
has focussed on interactive events rather than masterclasses.
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Warwick ‘s Postgraduate Award for RSC Actors is now in its third year. It has attracted
external funding from the Paul Hamlyn Foundation going forward to 2011; one of the
graduates from this programme has recently been appointed as a Fellow in Creativity.
25% of the company opening the new Royal Shakespeare Theatre in 2010 will hold this
award.
2.13 Sustain major role in the delivery of the RSC Learning Network in secondary schools
throughout the country, foster and contribute to its offshoots, particularly in the area
of student production and extend network into HE and Lifelong Learning to include a
programme of student placements
Partly Achieved: The RSC’s Education policy was revised in 2008 to focus on the 5-19 age
group. Responsibility for informal provision for HE and Life-long Learning at the RSC now
rests with Events and Exhibitions.
a. See 4.2 below: Learning and Performance Network
b. The RSC’s programme of student placements for over-18s has been formalised in
almost every department across the company
2.14. Deliver agreed teaching and learning opportunities via local partners, Shakespeare
Birthplace Trust (SBT), Shakespeare Institute and De Montfort University.
Partly achieved: De Montfort’s Centre for Excellence in Performance Arts promotes
the synthesis of creative practice and evaluative reflection in the teaching of
performance-based students. Warwick’s School of Theatre, Performance and
Cultural Policy Studies is now practice-based and offers similar resources on campus.
a. CAPITAL has developed a close collaboration with the SBT, supporting
performance-based educational projects such as the ‘Boy Players’ and the
‘Great Shakespeare Debate’; a series of podcast research conversations has
been inaugurated; collaborative funding bids to support innovations in its
education work have been applied for.
b. A Fellowship in Creativity is based at Birmingham University’s
Shakespeare Institute in 2009/10. Negotiations for shared use of space in
Stratford in 2006 were, however, unsuccessful.
2.15 Generate research grant income to make a significant contribution to the Centre’s
sustainability strategy.
Achieved: Open Space Learning in Real World Contexts, led by Professor Jonothan
Neelands, National Teaching Fellowship Scheme 2009: £193,500 for two years August
2009-July 2011.
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APPENDIX 4: Glossary
Collaborative Pedagogy
Employing a pedagogy informed by and associated with the conventions of a specific
discipline. Drama, Theatre and Performance, for example, applied to the teaching of another
discipline – in CAPITAL’s case Philosophy and Chemistry.
CPARG
The Capital Planning and Accommodation Review Group examines the entire range of nonresidential building space in the University and approves its allocation within the context of
the University’s Strategic Framework for capital development.
Drama, Performance and Identity
Optional module in the Department of English and Comparative Literary Studies. Module
web page.
EN301
‘Shakespeare and Selected Dramatists of His Time’ is a compulsory (for English Literature
students) 3rd year module at Warwick. In this module students look at a selection of plays by
Shakespeare and two of his most eminent contemporaries in the context of the theatres and
cultures of their time and ours. Module web page.
Faust
Module web page.
GSSP
The Graduate School Skills Programme provides a variety of training sessions, support and
events for the research students at Warwick. A wide range of subject areas are covered in
this training programme which provides research students with sessions in which they can
gain the necessary experiences and skills to complete their research study successfully and
to prepare their future careers.
Interdisciplinary Teaching and Learning
Disciplines have their own remit and their own areas of interest, however, some of these
areas are mutual, presenting an opportunity to collaborate and explore them from
contrasting disciplinary perspectives.
LDC
The Learning and Development Centre (LDC) was created in 2007 to provide tailored, highquality learning opportunities for University staff. The centre caters for over 4000 people
from all walks of university life, offering a range of opportunities from workshops and
accredited courses, to coaching and mentoring – all free for University staff. The Centre
helps to identify learning needs and designs bespoke sessions to provide accessible, relevant
learning and development opportunities for staff.
CAPITAL Centre, CETL Final Self-evaluation.
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Learning Grid
The Learning Grid provides an exciting, innovative, integrated, flexible space that supports
students by facilitating independent learning in new and changing ways. It, for instance,
supports individual study, group problem-solving activities, team working and presentation
work, including an emphasis on facilitating the development and delivery of student
presentations and supporting students in the use of digital multi-media for their
assignments. It provides a wireless network, capacity for up to 10,000 reference use student
texts, and careers resources. A wide range of equipment is also provided, including scanners
and document visualisers through to electronic whiteboards, video-editing facilities,
networked PCs, video cameras with playback capability, etc. These facilities are located
within study environments ranging from rooms for formal presentations to soft seating.
Multidisciplinary Teaching and Learning
Participants from a range of different disciplines collaborate in addressing a common
challenge – drawing from their range of knowledges, experiences and perspectives in order
to conduct a diverse exploration of a single defining notion, date, work of art, etc.
OSL
From origins in the ‘ensemble’ of theatrical practice, and the ‘workshop model’ of teaching
and learning, has developed a pedagogy we have called Open-space Learning. There are a
many elements that coalesce into a whole in OSL, but the principal ones are space,
creativity, and performance. OSL includes – but is not limited to – methods such as enactive
learning, kinaesthetic learning and the various methods of teaching developed by
practitioners such as Augusto Boal and Paulo Freire, and related to the work of thinkers like
Vygotsky, Howard Gardner, and David A. Kolb. It also has affinities with applied drama,
applied theatre or applied performance . Open space learning avoids the ‘download’ or
‘banking’ model of teaching and learning in which information is programmed into students
by an omniscient tutor.
Practice as Research
The pursuit of practice as research / practice-based research (PAR / PBR) has become
increasingly important during the past ten years to the research cultures of the performing
arts (drama, theatre, dance, music) and related disciplines involving performance media
(film, video, television, radio) as the contribution of the arts and cultural industries to
national health and prosperity has climbed up the political agenda. A growing number of
performing arts / media departments in higher education are now offering higher degrees
which place practice at the heart of their research programmes. This represents a major
theoretical and methodological shift in the performance disciplines — traditional
approaches to the study of these arts are complemented and extended by research pursued
through the practice of them. (Courtesy PARIP.)
Rehearsal Room
The Rehearsal Room is primarily a teaching space. A double-height white room with semisprung floor, the room has been designed in consultation with professional practitioners to
suit practical classes, rehearsals, readings and workshops.
Reinvention Centre
The Reinvention Centre for Undergraduate Research, a collaborative project based in the
Sociology Department at Warwick and the School of the Built Environment at Oxford
Brookes, is part of the national HEFCE CETL network. The main aim of the Reinvention
CAPITAL Centre, CETL Final Self-evaluation.
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Centre is to integrate research-based learning into the undergraduate curriculum. The
purpose is not simply to teach undergraduates research skills but to enable undergraduates
to become involved in research and integrated into the research cultures of their
departments.
Shakespeare and the Law
An optional module offered in the School of Law and Department of English and
Comparative Literary Studies. Module web page.
Studio
The Studio is the CAPITAL Centre's largest teaching space with a capacity of 60. As well as
hosting workshops and classes, the Studio is also used for performances, masterclasses,
training events and visiting practitioners. The room is a black box studio with semi-sprung
floor. An overhead wired grid provides access to the lighting bars from a technical room on
the first floor. There is also the facility to build a section of raked seating in the room.
Teaching Grid
Opened in March 2008, the Teaching Grid service was established to provide accessible,
collaborative support for all staff involved in teaching or training practice at the University of
Warwick. Working in collaboration with key university partners - the Learning Development
Centre, e-lab, the Reinvention Centre, CAPITAL Centre, Teaching Quality Unit, skills services
and Library subject specialists - the Teaching Grid furthers the University strategy to develop
outstanding and innovative teaching at Warwick
Without Chairs
Taught in the CAPITAL Centre using t methods that explore open space and enactive
learning, ‘Shakespeare Without Chairs’ is an option for EN301 students and takes an
innovative approach to re-imagining the standard academic seminar. Students work in a
rehearsal room, in shared space where conventional hierarchies (teacher/student) are
dismantled to be replaced with the idea, borrowed from the theatre rehearsal room, of the
ensemble. Students operate democratically as a group of collaborators to investigate
Shakespeare’s texts on their feet, in three dimensions. ‘De-throning’ standard academic
authority – the academic in the rehearsal room is an authority but not in authority – the
group works through experiment, creative offer, and play, taking risks by establishing
intellectual, physical, and creative trust. Simultaneously, the learner is empowered. Making
individuals responsible for particular ‘knowledges’ that they then own and represent across
the term, the group ask students to wear “the mantle of the expert” in their area and to
offer their expertise to the ensemble.
Workshop
A practical session in one of CAPITAL’s spaces that requires participants to engage with
materials (audio, video, text) in a collaborative fashion. This always involves group work and
nearly always kinaesthetic or embodied activities.
Writers’ Room
The Writers’ Room is one of CAPITAL’s “open” spaces and contains facilities and equipment
that make transformation into any of the following quickly possible: Writer’s Workshop
Room, Writer’s Boardroom, Writer's Library, Writer’s Surgery, Live Literature in Performance
Venue, E-Writing Space, Writers’ Cinema, Publishing House, and Rehearsal Space. This is a
democratic space and anyone from the University is welcome to make suggestions and
develop projects. As The Writers’ Room has developed outdoor areas have been converted,
CAPITAL Centre, CETL Final Self-evaluation.
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using conservation techniques to increase species diversity hand-in-hand with creating
open-air workshop and performance spaces for writing, and spaces for public textual art.
CAPITAL Centre, CETL Final Self-evaluation.
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APPENDIX 4: CAPITAL Centre Enhancement Activities and Events October
2005 – July 2010
(NB This listing does not include modules originated by the CAPITAL Centre. Further details of events,
listed here in chronological order, may be found on the CAPITAL web site
http://www2.warwick.ac.uk/fac/cross_fac/capital)
1. Theatre visits
Academic year 2005/06














A Midsummer Night's Dream (Royal Shakespeare Company (RSC)), Royal
Shakespeare Theatre, Stratford-upon-Avon (MA module in Shakespeare and
Performance)
Sir Thomas More (RSC) Swan Theatre, Stratford-upon-Avon (MA module
Shakespeare and Performance)
Twelfth Night (RSC), Royal Shakespeare Theatre, Stratford-upon-Avon
(Shakespeare and Selected Dramatists of his Time module; MA module
Shakespeare and Performance)
As You Like It (RSC) Royal Shakespeare Theatre, Stratford-upon-Avon (
Shakespeare and Selected Dramatists of his Time module; MA module
Shakespeare and Performance)
Sweet Charity and The Season of Migration to the North, RSC Development
Projects, Cox’s Yard, Stratford-upon-Avon (MA module British Dramatist in
Society)
Breakfast with Mugabe by Fraser Grace (RSC) Swan Theatre, Stratford-uponAvon (British Theatre since 1939 module, Drama and Democracy module, MA
module British Theatre since 1969)
Speaking Like Magpies by Frank McGuinness (RSC), Swan Theatre, Stratfordupon-Avon (Drama and Democracy module)
Galileo by Bertholt Brecht at Birmingham Repertory Theatre (European
Theatre module)
The Hypochondriac by Moliere at the Belgrade Theatre, Coventry (European
Theatre module)
Canterbury Tales Parts 1-2 (RSC) Swan Theatre, Stratford-upon-Avon
(Chaucer module)
1001 Nights Now, Northern Stage, Warwick Arts Centre (Theatre and
Ideology module, School of Theatre, Performance and Cultural Policy Studies
(STPCPS)
Great Expectations (RSC) Royal Shakespeare Theatre, Stratford-upon-Avon
(19th Century Novel module and Warwick Writing Programme)
The Grand Inquisitor directed by Peter Brook, Warwick Arts Centre (students
and staff from Humanities faculty)
The Crucible, by Arthur Miller (RSC) Royal Shakespeare Theatre, Stratfordupon-Avon (Drama and Democracy module; Stage and History module,
STPCPS) Studies)
CAPITAL Centre, CETL Final Self-evaluation.
17


Women Beware Women (RSC) Swan Theatre, Stratford-upon-Avon
(Shakespeare and Selected Dramatists of His Time module)
Romans in Britain, Crucible Theatre, Sheffield (British Theatre since 1939
module) [contribution to travel costs]
Academic year 2006/07















The Tempest, (RSC) The Courtyard Theatre, Stratford-upon-Avon
(Shakespeare and Selected Dramatists of his Time, Seventeenth Century
Literature and Culture, Exilic Perspectives (STPCPS) modules English and
French)
Julius Caesar, (RSC) Swan Theatre, Stratford-upon-Avon (Shakespeare and
Selected Dramatists of His Time and Shakespeare Page to Stage to Page
modules; MA module Shakespeare and Performance)
The Winter’s Tale, (RSC) Royal Shakespeare Theatre, Stratford-upon-Avon
(Shakespeare Page to Stage to Page module)
Richard II, (RSC) Courtyard Theatre, Stratford-upon-Avon (Theatre and
History module STPCPS)
Days of Significance by Roy Williams (RSC) Swan Theatre, Stratford-uponAvon (MA module British Dramatist in Society)
Richard III (RSC), Courtyard Theatre, Stratford-upon-Avon (Shakespeare Page
to Stage to Page module
Cymbeline (Kneehigh Theatre), Birmingham Repertory Theatre (Shakespeare
and Selected Dramatists of His Time and Shakespeare Page to Stage to Page
modules; MA module Shakespeare and Performance)
Richard III: An Arab Tragedy and Playing with History (MA module British
Dramatist in Society; Drama and Democracy, Shakespeare Page to Stage to
Page, Theatre and History (STPCPS) modules)
The Seafarer by Conor McPherson, Warwick Arts Centre (MA module British
Dramatist in Society)
Twelfth Night (Cheek By Jowl), Swan Theatre, Stratford-upon-Avon (English
and Theatre students)
Coriolanus (RSC), Royal Shakespeare Theatre, Stratford-upon-Avon
(Shakespeare and Selected Dramatists of His Time and Shakespeare Page to
Stage to Page modules)
The Seagull by Anton Chekhov (RSC) Swan Theatre, Stratford-upon-Avon with
post-show discussion with the cast (European Theatre module)
Three Sisters by Anton Chekhov (Cheek By Jowl), Warwick Arts Centre
(European Theatre module)
Othello, Shakespeare’s Globe, London (Shakespeare and Selected Dramatists
of His Time module)
Sizwe Bansi Is Dead by Athol Fugard, Warwick Arts Centre (British Theatre
Since 1939 module)
CAPITAL Centre, CETL Final Self-evaluation.
18

Cymbeline (Cheek By Jowl), Barbican Theatre, London, with pre-show talk
(MA module Shakespeare in Performance and students preparing their own
production).
Academic year 2007/08















Brief Encounter by Noel Coward ( Kneehigh), Birmingham Repertory Theatre
(MA module British Dramatists 1965-2005)
A Midsummer Night’s Dream, Dash Arts, Oxford Playhouse ( Shakespeare and
Selected Dramatists of His Time module)
Lisa’s Sex Strike, (Northern Broadsides) Lakeside Arts Centre, Nottingham
(MA module British Dramatists 1965-2005; European Theatre module)
Henry V, (RSC), Courtyard Theatre, Stratford-upon-Avon (Shakespeare and
the Director module; Performing Shakespeare module(STPCPS))
Fragments by Samuel Beckett, Bouffes du Nord, Warwick Arts Centre (British
Theatre Since 1939 module)
Richard II, (RSC) Courtyard Theatre, Stratford-upon-Avon (Shakespeare and
the Director module)
Othello, Donmar Warehouse (MA module Shakespeare in Performance)
Scenes from a Marriage by Ingmar Bergman, Belgrade Theatre, Coventry
(European Theatre module)
Henry IV Parts 1 and 2, (RSC) Courtyard Theatre, Stratford-upon-Avon (
Shakespeare and Selected Dramatists of His Time module; Performing
Shakespeare module (STPCPS))
Metamorphosis by Franz Kafka, Birmingham Repertory Theatre (British
Theatre since 1939 module)
Metamorphosis by Franz Kafka, Lyric Hammersmith, London (MA in
International Performance Research (STPCPS) transport only
One Night in November by Alan Pollock, Belgrade Theatre, Coventry
(Literature of World War II module)
Romeo and Juliet (Northern Broadsides), New Vic, Newcastle-under-Lyme (
year Shakespeare and the Reviewer module)
The Merchant of Venice (RSC) Courtyard Theatre, Stratford-upon-Avon (Law
and Literature module)
The Merchant of Venice ( RSC), Courtyard Theatre, Stratford-upon-Avon
(Belief and Unbelief Summer Seminar, Centre for the Study of the
Renaissance)
Academic year 2008/09 (in chronological order)


Mine, Shared Experience, Warwick Arts Centre (British Theatre since 1939
module)
A Midsummer Night’s Dream, Shakespeare’s Globe, London (Staging
Shakespeare module STPCPS))
CAPITAL Centre, CETL Final Self-evaluation.
19










A Midsummer Night’s Dream, (RSC) Courtyard Theatre, Stratford-uponAvon (MA module Shakespeare in Performance)
Love’s Labour’s Lost, (RSC) Courtyard Theatre, Stratford-upon-Avon
(Shakespeare and Selected Dramatists of His Time module)
The House of Bernarda Alba by Federico Garcia Lorca, Belgrade Theatre,
Coventry (European Theatre module)
The Brothers Size, by Tarell McCraney, Birmingham Repertory Theatre
and post-show discussion (Drama Performance and Identity and Drama
and Democracy modules, MA in International Performance Research
students (STPCPS))
Romeo and Juliet, (RSC) Courtyard Theatre, Stratford-upon-Avon
(Shakespeare Page to Stage to Page module; MA in International
Performance Research)
Twelfth Night, Donmar at Wyndham’s Theatre (Shakespeare Page to
Stage to Page module)
Othello, (RSC) Warwick Arts Centre (Shakespeare and Selected Dramatists
of His Time and Shakespeare Page to Stage to Page modules)
An Inspector Calls, by J.B. Priestley, Birmingham Repertory Theatre (MA
module British Dramatist Since 1969)
The Pillowman by Martin McDonagh, Leicester Curve (MA module British
Dramatists since 1969)
The Tempest, (RSC) Courtyard Theatre, Stratford-upon-Avon (British
Theatre since 1939, Drama and Democracy, Shakespeare Page to Stage to
Page modules; South African Drama and Staging Shakespeare modules
(STPCPS))
Academic year 2009/10 (in chronological order)








Deep Cut, by Philip Ralph, Warwick Arts Centre (British Theatre Since 1939
module)
Othello (Northern Broadsides), Trafalgar Studios, London (MA module
Shakespeare in Performance)
Twelfth Night, (RSC) Courtyard Theatre, Stratford-upon-Avon (Shakespeare
and Selected Dramatists of His Time module; Performing Shakespeare
module and MA in International Performance Research (STPCPS))
The Spanish Tragedy, Arcola Theatre, London (English and Theatre)
Beckett Double Bill: Rough for Theatre II and Ohio Impromptu (Fail Better)
Burton Taylor Studio, Oxford (British Theatre since 1969 and Drama
Performance and Identity modules; MA in International Performance
Research)
Lieutenant of Inishmore, by Martin McDonagh, The Curve, Leicester (British
Theatre since 1969 module; MA module British Dramatist in Society)
Dancing at Lughnasa by Brian Friel, Birmingham Repertory Theatre (British
Theatre since 1969 module; MA module British Dramatist in Society)
A Chaste Maid in Cheapside, King Edward VI School, Stratford-upon-Avon
(Shakespeare and Selected Dramatists of His Time module)
CAPITAL Centre, CETL Final Self-evaluation.
20


Measure for Measure, Almeida Theatre, London (Shakespeare and the Law
module)
The Power of Yes, by David Hare, National Theatre, London (MA module
British Dramatist in Society)
2. Workshops with theatre and/or educational practitioners
Academic year 2005/06











Workshop on Othello led by Simon Russell Beale (Shakespeare Special Topic
module).
Two workshops on Breakfast with Mugabe led by Gordon Vallins, Associate
Fellow of the CAPITAL Centre (Drama and Democracy module)
Workshop on Great Expectations led by Duska Radosavljevic (19th Century
Novel module and Warwick Writing Programme)
Workshop with Bruce Myers based on The Grand Inquisitor, Warwick Arts
Centre (English and Theatre Studies)
Workshop on 1001 Nights Now led by Duska Radosavljevic (Theatre and
Ideology module, STPCPS)
Pre-show talk with Lawrence Boswell and others from RSC’s Women Beware
Women ( Shakespeare and Selected Dramatists of his Time module)
Workshop on Howard Barker’s Scenes from an Execution led by Duska
Radosavljevic (British Theatre since 1939 module)
Sonnet Theatre workshop series by Duska Radosavljevic (self selecting English
and Theatre Studies students)
Workshop on Restoration drama led by Duska Radosavljevic (Seventeenth
Century Literature and Culture and European Theatre modules)
Workshop on Beckett Reading Shakespeare led by Jonathan Heron (European
Theatre, Shakespeare and Selected Dramatists of His Time modules)
2 workshops on agitprop theatre by Gordon Vallins, Associate Fellow of the
CAPITAL Centre (Drama and Democracy module)
Academic year 2006/07





Workshop on Sarah Kane’s Blasted, led by Alex Bulmer of Graeae Theatre
Company (British Theatre since 1939 module)
Performance and Workshop on Dice by Mark Catley, Theatre Company Blah
Blah Blah (Theatre in the Community module (STPCPS) and MA Drama in
Education)
Performing Race: Antony and Cleopatra (Shakespeare Special Topics module)
including a theatre visit and workshop sessions with Harriet Walter and Steve
Marmion, the Assistant Director
Research workshop on Cymbeline with Cheek By Jowl (MA module
Shakespeare and Performance )
Workshop/study day on Greek theatre based on Shared Experience
production of Orestes (European Theatre module)
CAPITAL Centre, CETL Final Self-evaluation.
21
















Workshop on Julius Caesar led by Steve Marmion (Shakespeare Page to Stage
to Page module)
Workshop with Hugh Lupton and Daniel Morden on Iliad or Odyssey (Epic
Tradition module)
Hamlet practical workshops (Shakespeare and Selected Dramatists of his
Time module)
Beckett workshops led by Jonathan Heron ( Philosophy and Literature study
weekend)
Workshop on Howard Barker’s Gertrude led by Jonathan Heron (Failbetter
Theatre Company) (MA module British Dramatist in Society)
Four Workshops on Caryl Churchill’s The Skriker led by Gordon Vallins
(European Theatre module)
Workshop with Tom Piper, RSC Associate Designer (Shakespeare Page to
Stage to Page)
Workshops on Dramaturgy: Thomas Hobbes led by Adriano Shaplin
RSC\Warwick Playwright in Residence (Shakespeare and Selected Dramatists
of his Time module)
Workshop series for one term on Writing and Interviewing for Broadcasting
with Paul Allen, Fellow of Creativity and Performance (English, Film Studies,
Theatre Studies students)
Shakespeare and Diaspora Cross-cultural Awareness: one week workshop
(including performance of The Man Who Committed Thought) with Patrice
Naiambana, Fellow in Creativity and Performance
Transferable Skills of the Actor workshop with Lyn Darnley, RSC Head of Voice
for the Centre for Academic and Professional Development (members of
staff)
Three Sisters workshop with director Evgenii Pisarev, Cheek by Jowl
(European Theatre module)
Streetcar Named Desire workshop led by Gordon Vallins (Drama and
Democracy module)
The Crucible workshop led by Gordon Vallins (Drama and Democracy module)
Agitprop workshops led by Gordon Vallins (Drama and Democracy module)
Othello workshop day: workshops with Lenny Henry, Barrie Rutter and actors
from Northern Broadsides, and voice and movement classes with RSC
practitioners (Shakespeare and Selected Dramatists of his Time module)
Academic year 2007/08



The Oedipus Project (October to March) weekly workshops led by Donnacadh
O’Briain, Artist in Residence (Open to all)
Henry IV weekly workshops led by Donnacadh O’Briain, Artist in Residence (
Shakespeare and Selected Dramatists of His Time module)
Shakespeare’s Toolkit, November/February, led by Rob Clare, Fellow in
Creativity and Performance (MA in Drama and Education, STPCPS, English:
open to all)
CAPITAL Centre, CETL Final Self-evaluation.
22





















Sergeant Musgrave’s Dance workshop led by Gordon Vallins (British Theatre
Since 1939 module)
Performing Beckett workshop led by Kathryn Hunter, Marcello Magni, Jos
Houben of Bouffes du Nord (British Theatre since 1939 and European Theatre
module)
Sleep Special Study Module simulations by STPCPS students (Medical School
postgraduates)
Janet Suzman’s The Free State workshop led by Gordon Vallins (Drama and
Democracy module)
Development workshops for Paul Robeson documentary, led by Tony Howard
(Fellow in Creativity and Performance) and Gordon Vallins (Drama and
Democracy module)
Shakespeare’s histories workshop led by Donnacadh O’Briain, RSC Assistant
Director (Shakespeare and the Director module)
Penelopiad workshop led by Djanet Sears, Fellow in Creativity and
Performance (Epic Tradition module )
Weekend workshops on T.S. Eliot led by Jonathan Heron (Philosophy and
Literature course)
Week of Beckett workshops led by Jonathan Heron (Literature in the Modern
World module)
Brecht workshop with Jonothan Neelands, Warwick Institute of Education
(European Theatre module)
18th -century drama workshop led by director Max Stafford-Clark (18thCentury Literature module)
Comedy of Errors training workshop led by Claudette Bryanston, freelance
director (Warwick Hospitality staff)
Influencing the next generation of educators: Workshop by RSC Education on
the rehearsal room approach to teaching Shakespeare in primary and
secondary schools led by Taryn Storey (PGCE English with Drama, Drama
with English course)
David Edgar: Between Fact and Fiction seminar (STPCPS course; British
Theatre since 1939, Drama & Democracy and European Theatre modules)
Workshops with Harriet Walter, Philip Breen, Rob Carroll, Fiona Lindsay
(Teaching Shakespeare: A Practical Approach module)
Workshops on The Skriker by Caryl Churchill led by Gordon Vallins (British
Theatre since 1939 and European Theatre modules)
Diary of a Madman by Gogol. Workshop led by Jonathan Heron (Philosophy
and Literature course)
Q&A on Lorca’s Blood Wedding with translator Michael Johnston (Queen’s
University Belfast) (open to all)
Unspeakable Acts workshop led by actor and director Annouchka Bailey
(open to all)
Applied Theatre workshop led by Peter O’Connor, Applied Theatre
Consultants, NZ (open to all)
Persephone project (January-March) led by Jonathan Heron (Fail Better
residency) (open to all)
CAPITAL Centre, CETL Final Self-evaluation.
23







Becoming a Better Teacher, workshop led by Mary Johnson (former Head of
RSC Education) and Jonothan Neelands (Graduate Teaching Assistants in the
Humanities)
Post-show workshop on The Merchant of Venice led by Jonathan Heron
(Belief and Unbelief seminar, Centre for the Study of the Renaissance)
Orestes project ( three-day) led by director Andrew Visnievski and writer
Joseph Coelho (European Theatre module)
Writing for Performance Study Day with playwright Meredydd Barker and
Djanet Sears, CAPITAL fellow in Creativity and Performance (English and
Creative Writing course; Writing for Performance module (STPCPS)
The Apprentice for Artists, weekly workshops (Jan.-Mar. led by Adriano
Shaplin, RSC\Warwick Playwright in Residence and poet and performer Peter
Blegvad (open to all)
Workshop on Sarah Kane’s Blasted by Graeae Theatre Company for One
World Week (open to all)
Writing for Radio Study Day with broadcaster Paul Allen and writer Pete Atkin
(English and Creative Writing course; Writing for Performance module
(STPCPS))
Academic year 2008/09












‘Presence’ Workshop led by Jonathan Heron (Critical Issues in Law and
Management module, Warwick Business School )
Workshop on Federico Garcia Lorca led by Jonathan Heron (Philosophy and
Literature course)
Q&A on Love’s Labour’s Lost with RSC cast members (Shakespeare and
Selected Dramatists of his Time module)
CAPITAL Chemistry I: The Periodic Table workshops by Nicholas Monk and
Jonathan Heron (Introduction to Inorganic Chemistry module)
Workshop on Beckett’s Happy Days and Not I led by Jonathan Heron (British
Theatre since 1939 module)
Shakespeare workshop week I led by Jonathan Heron (Shakespeare and
Selected Dramatists of his Time module)
Beckett Workshop led by Jonathan Heron (Drama, Performance and Identity
module)
Weekend workshops on The Rime of the Ancient Mariner led by Jonathan
Heron (Philosophy and Literature course)
Sample workshop by The Learning Stage for Warwick Business School
Professional Programmes
Directing the Image, workshop series (October-December)led by Andy
Williams, CAPITAL Fellow in Creativity and performance (open to all)
Training sessions for Graduate Teaching Assistants (Critical Issues in Law and
Management module Warwick Business School)
Workshop for Graduate Teaching Assistants in the Humanities, led by Mary
Johnson, formerly Head of RSC Education (Learning and Development Centre,
Graduate Skills Programme, Warwick Business School)
CAPITAL Centre, CETL Final Self-evaluation.
24























Role play workshop led by Jonothan Neelands (Space, Performance and
Pedagogy Group)
Beckett/Kane Workshop led by Jonathan Heron (Drama Performance and
Identity module)
Presence workshop led by Jonathan Heron (Warwick Network)
Workshops led by Jonathan Heron (Textual Studies module, Philosophy and
Literature)
Pitching workshop led by Grier Palmer, Nicholas Monk, Jonathan Heron (MA
Cultural Policy Studies; Warwick Business School)
Risk workshop led by Ruth Leary, Jonathan Heron, Nicholas Monk (MA in
Creative and Media Enterprises STPCPS))
Middleton’s The Changeling workshops led by Paul Prescott, Nicholas Monk,
Jonathan Heron (Shakespeare and Selected Dramatists of His Time module)
Practical workshops led by Paul Prescott and Jonathan Heron (Shakespeare
Page to Stage to Page module)
Imagine, Observe, Remember (January to March) workshop series led by
Peter Blegvad, CAPITAL Fellow in Creativity and Performance (open to all)
Lost Interpretations of Hamlet: The Hamlet Project (January to April), led by
Tom Cornford, CAPITAL Artist in Residence (open to all)
Auditioning workshop led by Tom Cornford, CAPITAL Artist in Residence
(Warwick University Drama Society)
CAPITAL Chemistry II – Famous Chemists workshop led by Nicholas Monk,
Jonathan Heron (Introduction to Inorganic Chemistry module)
Waiting for Godot workshops led by Jonathan Heron (Literature in the
Modern World module)
Eighteenth-Century Drama workshop led by Tom Cornford, CAPITAL Artist in
residence (18th century literature module)
Sarah Kane workshop led by Elizabeth Barry and Jonathan Heron (British
Theatre Since 1939 module)
Shakespeare workshop week II led by Jonathan Heron (Shakespeare and
Selected Dramatists of his Time module)
Beckett Workshop led by Elizabeth Barry and Jonathan Heron (Anglo-Irish
Literature module)
Presence Workshop led by Ruth Leary, Jonathan Heron, Nicholas Monk (MA
in Creative and Media Enterprises, STPCPS))
Large and Small Group Teaching Workshops, led by Mary Johnson, formerly
Head of RSC Learning) (PCAPP course, Learning and Development Centre)
Cost of Dying workshops led by Claudette Bryanston, CAPITAL Fellow in
Creativity and Performance (Institute of Health)
Supporting students: Mentoring and Feedback skills led by Mary Johnson,
formerly Head of RSC Education, and Nicholas Monk (PCAPP Learning and
Development Centre)
Collaboration workshop, led by Mary Johnson formerly Head of RSC
Education (Learning and Development Centre)
Staging the Witches workshop led by Jonathan Heron (Aim Higher )
CAPITAL Centre, CETL Final Self-evaluation.
25

Performance and Myth, led by Jonathan Heron with Jonothan Neelands
(International Gateway for Gifted and Talented Youth (IGGY) Summer School)
Academic Year 2009/10




















Darkling Images: two theatre photography workshop series (OctoberDecember, January –March) led by Peter Marsh with special sessions by
photographers Nobby Clarke and Malcolm Davies
New Plays in New Ways workshop series November/March led by Lorne
Campbell, CAPITAL Fellow in Creativity and Performance (open to all)
Networking workshop led by Nicholas Monk and Jonathan Heron (Graduate
Skills Programme)
Waiting for Godot workshop led by Jonathan Heron (MA International
Performance Research (STPCPS))
Q&A on Northern Broadsides Shakespeare with Barrie Rutter, Artistic
Director of Northern Broadsides, and photographer Nobby Clarke (MA
module Shakespeare in Performance)
Workshop on Willa Cather and Bakhtin led by Nicholas Monk (North
American Women Writers module)
Presence workshops led by Nicholas Monk and Jonathan Heron (MBA
Warwick Business School)
Legacies workshop led by Nicholas Monk and Jonathan Heron ( Development
and Alumni Relations Office staff)
Kierkegaard workshop led by Jonathan Heron (Textual Studies module,
Philosophy and Literature)
Angels in America workshop led by Jonathan Heron and Oliver Turner
(Drama, Performance and Identity module)
Dion Boucicault’s The Octoroon workshop led by Oliver Turner (Drama and
Democracy module)
Renaissance Dance workshop series January/March led by Lucy Cullingford,
CAPITAL Fellow in Creativity and Performance (open to all)
Risk Factor workshop led by Jonathan Heron and Nicholas Monk (MA in
Creative and Media Enterprises (STPCPS))
Week of Waiting for Godot workshops led by Jonathan Heron (Literature in
the Modern World module)
ReCreating Play one week workshop led by Tarell McCraney, RSC\Warwick
Playwright in Residence (open to all)
Play Read Club led by Tarell McCraney (English and Creative Writing)
CAPITAL Chemistry I and II workshops led by Nicholas Monk and Jonathan
Heron (Introduction to Inorganic Chemistry module)
Coriolanus workshop led by Lorne Campbell, CAPITAL Fellow in Creativity and
Performance (open to all)
A Play about Paul Robeson; devising workshop led by Tom Cornford (open to
all)
Presence Workshop led by Nicholas Monk, Jonathan Heron (MA in Creative
and Media Enterprises (STPCPS))
CAPITAL Centre, CETL Final Self-evaluation.
26


18th-Century Movement workshop led by Lucy Cullingford, CAPITAL Fellow in
Creativity and performance (18th century Literature module)
Angels in America workshop led by Oliver Turner (Drama and Democracy
module)
3. Special Events
Academic year 2005/06






A day seminar on theatre reviewing, led by Dr Paul Prescott, involving Paul
Allen, presenter of 'Night Waves', Radio 3's flagship arts and ideas
programme, and Michael Billington, The Guardian's drama critic. (English and
Comparative Literary Studies)
Study Day on The Canterbury Tales (Medieval to Renaissance and Chaucer
modules)
Study day on Contextualising The Crucible (Drama and Democracy module,
Stage and History module (STPCPS))
Tsunami project: staged reading developed from MA module British
Dramatist in Society based on RSC’s Development Projects
Slants on Shakespeare platform event: Public Spaces and Private Places:
Antony and Cleopatra (Warwick English and STPCPS, Shakespeare Institute
University of Birmingham), Shakespeare Birthplace Trust students)
Slants on Shakespeare platform event: A Marvellous Convenient Place for our
Rehearsal: A Midsummer Night’s Dream (students from Warwick English and
STPCPS)
Academic year 2006/07






What Is She? Staged Reading with cast of students and RSC alumni actors for
Charlotte Smith Centenary Conference (Aspects of Theatre and Performance,
Theatre Studies) October 2006
The Tempest study day, Courtyrad Theatre, Stratford-upon-Avon
(Shakespeare and Selected Dramatists of His Time, Seventeenth Century
Literature and Culture, Exilic Perspectives (STPCPS), Shakespeare Page to
Stage to Page, English and French modules)
Rehearsed reading of Adriano Shaplin’s Pugilist Specialist by Warwick
students for One World Week , with support and guidance from the author,
RSC/Warwick Playwright in Residence,
Q&A with Emma Rice of Kneehigh Theatre Company (Shakespeare Page to
Stage to Page module and MA module in Shakespeare and Performance)
The Great Shakespeare Debate for schools, Shakespeare Birthplace Trust and
the English Speaking Union (part-funded by CAPITAL)
Presentation on rhetoric by Lyn Darnley, RSC Head of Voice (Shakespeare and
Selected Dramatists of his Time module)
CAPITAL Centre, CETL Final Self-evaluation.
27



Women as Hamlet by Tony Howard: audio-visual presentation of research
and book launch open to all)
Yuri Olesha’s A List of Assets: Rehearsed reading, directed by Paul Allen,
CAPITAL Fellow of Creativity (European Theatre module)
The CAPITAL Carnival to mark the opening of the CAPITAL Centre at Millburn
House 12-13 May (open to all)
Academic year 2007/08










I am Shakespeare, CAPITAL Masterclass, Mark Rylance (open to all)
Read through of The Circle with Djanet Sears, CAPITAL Fellow of Creativity
and Performance (open to all)
The Art of Laughter, CAPITAL Masterclass, Jos Houben (open to all)
The Great Shakespeare Debate for schools, Shakespeare Birthplace Trust and
the English Speaking Union (part funded by CAPITAL)
Beyond the Lyric: CAPITAL masterclass Fiona Sampson (Fellow of Creativity
and Performance) and the Coull Quartet (open to all)
Post-show talk with John Tiffany, director of Black Watch, chaired by Paul
Allen, Warwick Arts Centre (open to all)
Pre-show talk on Boris Godunov with Declan Donnellan, chaired by Carol
Rutter,, Warwick Arts Centre (open to all)
Pencil Fest: 1st National Student Writing Festival (open to all)
The Art of Directing: student drama showcase, five 20-minute performances
prepared and performed by student groups followed by a forum with Paul
Allen, Tom Cornford (Shakespeare’s Globe) (open to all)
Theatre Studies opening event supported by CAPITAL: Motionhouse Dance
Company, Underground; Adrian Howells, An Audience with Adrienne; Philip
Warnell, Crow; The Plasticine Men, Cargo (open to all)
Academic year 2008/09
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Coull Quartet: Music and Poetry Concert (open to all)
The Great Shakespeare Debate for schools, Shakespeare Birthplace Trust and
the English Speaking Union (part-funded by CAPITAL)
A Slave’s Son at Stratford; exhibition opening (by Baroness Lola Young),
Warwick Arts Centre (open to all)
Speak of me as I am: Othello and the Black Actor in British Theatre; panel
discussion led by Baroness Lola Young with Joe Marcell, Warwick Arts Centre
(open to all)
Tarell McCraney and Harry Elam in conversation on African-American
Theatre, CAPITAL Centre (open to all)
John Lyly, Endymion, performed by Edward’s Boys (King Edward VI School,
Stratford-upon-Avon) directed by Perry Mills, CAPITAL Fellow in Creativity
and Performance (CAPITAL Centre studio) (open to all)
Thomas Middleton, A Mad World My Masters, performed by Edward’s Boys
(King Edward VI School, Stratford-upon-Avon) directed by Perry Mills,
CAPITAL Centre, CETL Final Self-evaluation.
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CAPITAL Fellow in Creativity and Performance (CAPITAL Centre studio) (open
to all)
Imagine, Observe, Remember, written and directed by Peter Blegvad,
CAPITAL Fellow in Creativity and Performance, CAPITAL Centre (open to all)
Shakespeare on the Brain, National Brain Awareness week, panel discussion
with performed illustrations by CAPITAL student ensemble, Warwick Arts
Centre (open to all)
New Work Festival 2009: Shakespeare Page to Stage; Drama, Performance
and Identity; Sunday’s Child; Passing On (Claudette Bryanston); Nicholas (Sam
Kinchin-Smith); The Land that Disappears (Oxford Youth Theatre);
Neighbourhood Watch (Jenny Mills); The Persephone Project (Fail Better);
Devising Workshop (open to all)
Young Poets evening, Stratford-upon-Avon Poetry Festival, CAPITAL Centre
(open to all)
Simon Erridge, Designing a Theatre, Designing Shakespeare seminar series,
CAPITAL Centre (open to all)
Cormac McCarthy’s Houses: an exhibition of paintings by Peter Josyph,
CAPITAL Centre (open to all)
Shakespeare workshops led by Carol Rutter and presentation on CAPITAL’s
work (Warwick Alumni Weekend)
Academic year 2009/10
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Bill Dudley and Jason Barnes, Designing Shakespeare, Designing Shakespeare
seminar series Warwick University Library (open to all)
A Slave’s Son at Stratford: exhibition, Shakespeare’s Globe, London (open to
all ticket holders)
World Aids Day workshop and performance by students form Drama
performance and Identity module (Centre for the History of Medicine) (open
to all)
The Great Shakespeare Debate for schools, Shakespeare Birthplace Trust and
the English Speaking Union (part-funded by CAPITAL)
Café Scientifique led by Jonathan Heron, Warwick Faculty of Arts (all
postgraduates of Warwick University)
GreyScale Coriolanus work in progress presentation, directed by Lorne
Campbell, CAPITAL Fellow in Creativity and Performance, CAPITAL centre
(open to all)
A.L. Kennedy, Words, CAPITAL Centre (staff and students English Dept. )
Dove Release, edited by David Morley, launch and poetry readings from the
anthology including Glyn Maxwell, CAPITAL Centre (open to all)
Renaissance Dance and the Body: Master Class in Elizabethan Dance: led by
Ian Brener and Lucy Cullingford (open to all)
New Work Festival 2010: What’s past is Prologue (April/May 2010)
4. Student Drama Projects:
CAPITAL Centre, CETL Final Self-evaluation.
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Lope de Vega’s Capulets and Montagues , directed by Heather Davies for the
RSC’s Complete Works Fringe Festival and at RADA, London, 2006
Little Thorns, written and directed by Peter Cant, University of Warwick, 2007
Crowkskin, devised and directed by Vassili Christoudoulou, University of
Warwick, 2007
Edward II, by Christopher Marlowe, directed by Julia Ihnatowicz, University of
Warwick, 2008
Arcadia, by Tom Stoppard, directed by Rob Marks, University of Warwick,
2008
Federico Garcia Lorca, Play without a Title, CAPITAL Student Ensemble,
directed by Jonathan Heron (Fail Better residency), University of Warwick and
Belgrade Theatre, Coventry, 2009
Reinterpreting Hamlet, directed by Fran Donnelly, University of Warwick,
2008
The Body in Light, devised and directed by Jack Lowe, University of Warwick,
2009
The Persephone Project, CAPITAL Student Ensemble, directed by Jonathan
Heron (Fail Better residency), University of Warwick, 2009
The Mercy Seat by Neil LaBute, directed by Eduard Lewis, University of
Warwick, 2009
What Good Are the Arts: A Modern Exploration of an Ancient Quarrel,
directed by Peter Faulconbridge and Claire Stone, University of Warwick,
2010
Discords, CAPITAL Student Ensemble, directed by Jonathan Heron (Fail Better
residency), University of Warwick, 2010
5. Research, Dissemination and Conferences hosted and/or attended
Academic year 2005/06
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Visits to the Shakespeare Birthplace Trust with presentation on the use of
theatre archives, display of archival materials relating to Othello and handson study session (Shakespeare Special Topics module)
November to December 05/ October to November 06: Weekly sessions at the
Shakespeare Birthplace Trust to pursue directed research on the RSC archive
(MA module Shakespeare in Performance)
January to March 06/September-December 06: Weekly sessions at the
Shakespeare Birthplace to pursue directed research on Shakespeare editions
from the 17th century to the present Trust (MA module Shakespeare and
History)
Interpretative Choices workshop by Mary Johnson (HEFCE Annual
Conference)
January to March 07: Weekly sessions at the Shakespeare Birthplace Trust for
to pursue directed research on Falstaff (MA module Shakespeare and History)
Our Town Act III by Thornton Wilder: Grant towards a site-specific
production directed by Jennifer Markowitz (STPCPS)
CAPITAL Centre, CETL Final Self-evaluation.
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Doing Kyd: Grant towards travel expenses for two practitioners from
Exterminating Angel to attend the conference at Warwick
Jacobean Drama Project (06/07): creating web—based materials on past
productions
Shakespeare Workshop Development project for staff from CAPITAL and RSC
Learning
Teaching Shakespeare: ‘Devise, wit, write, pen’: joint conference with the
English Subject Centre and the Shakespeare Institute, University of
Birmingham, Stratford-upon-Avon, September 2006
Academic year 2006/07
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Newcastle ‘roadshow’ to coincide with RSC residency: half day seminar for
lecturers; two onstage events involving RSC actors and workshop focussing
on The Tempest (for 5 universities in the area), November 2006
Developing Creative Practice: a Laboratory Approach: symposium for
practitioners organised by RSC Learning, December 2006
Creative Learning Symposium: for post-16 and undergraduate teachers,
representatives of exam boards, etc. with RSC Learning, Warwick Institute of
Education, and Creative Partnerships Coventry, December 2006
International Seminar on Creativity with RSC and Creative Partnerships,
Stratford-upon-Avon, February 2007
Empty the Jordan: presentation of research by Paul Allen, CAPITAL Fellow of
Creativity and Performance, Warwick Arts Centre, March 2007
“Coleridge and the Voice” workshop by Judith Phillips and Roger Hyams at
one-day conference on The Romantic Voice, University of Warwick April
2007
Panel on Creativity and Performance in Teaching and Learning at English
Subject Centre conference: Renewals: Refiguring English in the 21 st century
Conference, Royal Holloway, University of London, July 2007
‘The Bawdy Court’ Plenary paper by Jonathan Bate, Shakespeare and Law
conference, University of Warwick, July 2007
Interpreting Shakespeare: The Director, the Actor, The Editor, The Teacher,
The Critic, 3rd British Shakespeare Association Conference, University of
Warwick, August/September 2007
Academic year 2007/08
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October to December 07: sessions at the Shakespeare Birthplace Trust to
pursue directed research (MA module in Shakespeare and Performance)
Beckett and Visual Culture: one-day conference with performance by Fail
Better of Beckett Shorts and Exhibition of Beckett Doodles by Bill Prosser,
CAPITAL Centre, November 2007
Boy Players: The Dutch Courtesan performed by King Edward VI School
Stratford-upon-Avon and Antonio and Mellida performed by Dulwich College,
CAPITAL Centre, CETL Final Self-evaluation.
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Globe Education’s Young Shakespeare Symposium, introduced by Carol
Rutter, Shakespeare’s Globe, London
‘Space, Performance and Pedagogy’ Symposium with guest speakers Sir Brian
Follett (Oxford), Allen Owens (University of Chester) and Lucinda Jarrett,
CAPITAL Centre (staff from Institute of Education, Law, eLab, Institute of
Health, Medical School, English, Theatre Studies, Law, Maths)
Languages at Play: Translation from Playwriting to Performance Study Day.
CAPITAL Centre (Theatre Studies, Italian, Centre for Translation and
Comparative Cultural Studies)
Paul Taylor, Jonathan Heron and Caroline Gibson: ‘Creative Environments for
Learning: The Work of the CAPITAL and Reinvention Centres'. 1st ECIU
(European Consortium of Innovative Universities) Symposium for Innovative
Teaching for a 21st Century Europe, University of Strathclyde, March 2008.
Jonathan Heron: ‘Staging the Witches —An Evolving Workshop Model Using
Macbeth Act1 Sc1 to Explore Shakespeare in Performance’. 1st ECIU
(European Consortium of Innovative Universities) Symposium for Innovative
Teaching for a 21st Century Europe, University of Strathclyde, March 2008.
Jonathan Heron and Nicholas Monk, Staging the Witches. Shakespeare: Page,
Stage, Engage, New York University Steinhardt School of Culture , Education
and Human Development, April 2008.
Carol Rutter, Shakespeare without Chairs. University of Chester Staff
Conference, May 2008
Academic year 2008/09
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Re-Performing Performance: web-based teaching materials incorporating
Texting the Process
AILAS (Auto-Intuitive Live Archive Searching), Warwick Research and
Development Fund pilot project with STPCPS
Beyond the Lyric: A Colloquium, CAPITAL Centre, November 2008
Federico Garcia Lorca, Play Without a Title, CAPITAL Student production,
Beyond Spanish: The Many Lorcas symposium, Belgrade Theatre Coventry,
November 2008
John Lyly, Endymion , directed by Perry Mills, Fellow in Creativity and
Performance, Role and Rule conference, Shakespeare’s Globe, January 2009
The Elizabethan Boy Player: A Research Workshop with Perry Mills, Carol
Rutter, Stanley Wells, Shakespeare Birthplace Trust, Stratford-upon-Avon,
March 2009
A Mad World My Masters: Drama and Performance Seminar led by Carol
Rutter, Perry Mills CAPITAL Fellow in Creativity and Performance, University
College, Oxford)
‘Unpinning Desdemona’ practice as research project led by Carol Rutter,
Shakespeare’s Globe winter play season
Is it something I should do with my face, other than utter?: Rehearsing
Beckett’s Practical workshop led by Jonathan Heron, English Faculty, Oxford
University, Samuel Beckett: Debts and Legacies seminar series
CAPITAL Centre, CETL Final Self-evaluation.
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‘If you have writ your annals true’: Shakespeare, Performance and the
Archive, 3rd International Shakespeare and Performance Colloquium,
CAPITAL Centre, April 2009
Jonathan heron and Nicholas Monk, ‘Let us do something, while we have the
chance!’ Waiting for Godot and Open Space Learning. Postgraduate and
Newer Researchers Conference 2008: Valuing Higher Education, Liverpool
Grier Palmer, Cath Lambert, Jonathan Heron, ‘Helping Law Students via
Spaces and Performance’, Learning in Law (LILAC) conference, University of
Warwick, January 2009
Jonothan Neelands, Seminar on CAPITAL Open Space Learning project, 3rd
CILASS Student Staff Conference on Inquiry-Based Learning, University of
Sheffield, March 2009
Jonathan Heron and Nicholas Monk, CAPITAL Chemistry, 3rd Symposium on
Social Learning Space, Oxford Brookes, April 2009
Cormac McCarthy Society Conference, CAPITAL Centre, July 2009
Jonathan Heron, Practice-as-Research Working group, IFTR Silent Vices,
Forbidden Lives: Censorship and Performance, Lisbon, July 2009
Reviewing Shakespearean Theatre Conference (with Shakespeare Birthplace
Trust and Nottingham Trent University), Stratford-upon-Avon, September
2009
Susan Brock and Peter Kirwan, Teams Researching Shakespeare in Higher
Education Panel, Local/Global Shakespeare, British Shakespeare Association
Conference, King’s College London, September 2009
Carol Rutter and Jonathan Heron, Global/local pedagogies seminar,
Local/Global Shakespeare, British Shakespeare Association Conference, King’s
College London, September 2009
Space, Performance and Pedagogy: CAPITAL Dissemination Conference,
CAPITAL Centre, September 2009
Academic year 2009/10 (in chronological order)
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Susan Brock, ‘Their Exits and Their Entrances, The Archive of the Royal
Shakespeare Company’, International Symposium on Theater Arts and
Cultural Administration – Innovation and Transformation, National Sun YatSen University, Taiwan, November 2009
Beckett and the Brain (including performance by Fail Better), CAPITAL Centre
(Centre for the History of Medicine, Warwick Medical School, English)
Workshop on performance skills and teaching led by Nicholas Monk,
Sounding it out: The Performance of English, English Subject Centre Study
Day, Leeds Metropolitan University, November 2009
CAPITAL pedagogy workshops led by Jonathan Heron and Nick Monk for
Faculty of Arts, University of Hull, January 2010
Nicholas Monk and Jonathan Heron, CAPITAL Pedagogy, English Research
Seminar series, University of Warwick , January 2010
Carol Rutter, Shakespeare without Chairs, Department of English, University
of Michigan, February 2010
CAPITAL Centre, CETL Final Self-evaluation.
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Carol Rutter, ‘Talking Heads’, Ropes Lecture, University of Cincinnati,
February 2010
Space Performance and Pedagogy: Creativity for Professional Practice (with
Cass Business School and University of Chester), CAPITAL Centre, February
2010
Nicholas Monk, Paul Prescott and Jonathan Heron Tour of US universities
demonstrating CAPITAL teaching methodology: Vanderbilt University; North
Carolina Chapel Hill; Loyola, Baltimore;San Francisco State University)
Carol Rutter, Shakespeare without Chairs: Open-space Pedagogy: ‘Tush never
tell me: Othello, Text and Object’,
Jonathan Heron, ‘What is’t you do: Macbeth, Text and Image’ Shakespeare
Association of America Conference, Chicago, April 2010
Carol Rutter, Jonathan Heron, Tom Cornford , Object/Archive/Script: Practicebased research in the teaching of Shakespeare: paper panel: (Renaissance
Society of America Conference, Venice, April 2009
Jonothan Neelands, Nicholas Monk, Jonathan Heron, ‘The Dramatised
University: The Uses and Values of Applied Performance and Rehearsal Room
Approaches across the HE Curriculum’, 9th International University Theatre
Association, De Montfort University, June/July 2010
CAPITAL Centre, CETL Final Self-evaluation.