DRAMA STUDENT GUIDE
2015-2016
CONTENTS
TITLE
PAGE
CONTENTS
1
WELCOME FROM THE HEAD OF DRAMA & THEATRE
2
DRAMA STAFF CONTACTS
3
THE SHAPE OF YOUR DRAMA DEGREE
5
STUDYING IN THE DRAMA DEPARTMENT
7
EXPECTED STANDARDS OF CONDUCT
10
PRESENTATION OF WRITTEN WORK
11
THE DRAMA TECHNICAL DEPARTMENT
17
USEFUL WEBSITE LINKS AND RESOURCES
18
WELCOME FROM THE HEAD OF DRAMA & THEATRE
This Student Guide provides lots of useful information about studying Drama at
Kent but you’ll also find more information in the School of Arts 2015/16
Undergraduate Student Handbook.
Welcome to all new Drama students, and to returning students, a big welcome
back! I would like to take this opportunity to update you on changes within the
department and celebrate our successes. I hope you have all experienced some
fantastic theatre over the break and are feeling inspired and ready for the new academic year.
I’m delighted to share the news that we have three full-time Drama staff joining us this year. Some of you may
have already met the immensely talented Will Wollen, a professional actor and director who will be
contributing this year to modules such as Acting, Performing Classical Texts, New Directions and
Shakespeare’s Theatre. Roanna Mitchell completed her PhD at Kent in 2013 and will be bringing her expertise
as an internationally recognised movement director and theatre maker to modules such as Physical Theatre 1
and 2, Performing Lives, and Creative Project. Senior Lecturer Clare Finburgh joins us from the University of
Essex; an award winning academic author and modern language specialist, Clare Finburgh has interests in
French Theatre, theatre and war, theatre and ecology, and scenography.
A big congratulations to our newly appointed Graduate Theatre Company, PaperPlanes, and company
members Naomi Hutchinson, Nick Luxton, Henry Halsall and Bethany Taylor. PaperPlanes create exciting
participatory performances for children aged 3-8, and begin their 18-month residency with the School of Arts
in September. Our established Graduate Theatre Company, Entita Theatre, took not just one but two
productions to the Edinburgh Fringe and to the International Youth Arts Festival (IYAF) this year; their show
Method in Madness received 4 and 5 star reviews and their latest production Fall was awarded ‘Best of the
Fest’ at IYAF 2015, a huge achievement and excellent recognition of their work. If you’re seeking advice on
developing your own work, starting your own company, or putting on work off campus, chatting to our
Graduate Theatre Companies is a great place to start.
The 2014/15 academic year was a productive and exciting one for drama students at Kent, with lots of
exciting performances, international trips and fun social events. Our Summer Term Programme was packed
with excellent student theatre, comedy and events, and our three selected Summer Term Student Projects
offered original, challenging, and heart-warming performances. I have no doubt we can make 2015/16 even
better! This year our newly designed Creative Project module will have third-year Drama students working in
companies to produce original projects as part of the Third-Year Drama Festival in the Summer Term. The
School of Arts will continue to offer alumni events, networking opportunities and employability sessions, so
keep an eye out for these and get involved where you can.
To find out what’s happening in the School of Arts, keep in touch via our Facebook page and twitter feed, and
remember to chat with your student representatives. And don’t forget to let us know if you’re doing
something special: we all want to hear about it!
Rosie
DR ROSEMARY KLICH,
HEAD OF DRAMA AND THEATRE
2
DRAMA STAFF CONTACTS (Full-Time LECTURERS)
FORENAME
SURNAME
EMAIL
OFFICE LOCATION
PAUL
ALLAIN
paa@kent.ac.uk
JARMAN 2-44
PETER
BOENISCH
pmb@kent.ac.uk
ELIOT E2.S4
HELEN
BROOKS
hemb@kent.ac.uk
JARMAN 2-35
OLIVER
DOUBLE
ojd@kent.ac.uk
JARMAN 2-15
CLARE
FINBURGH
TBC
ROSIE
KLICH
rek@kent.ac.uk
JARMAN 2-45
MARGHERITA
LAERA
ml413@kent.ac.uk
JARMAN 2-22
SHAUN
MAY
srm33@kent.ac.uk
JARMAN 2-14
ROANNA
MITCHELL
rem27@kent.ac.uk
TBC
DERMOT
O’BRIEN
dlo@kent.ac.uk
PATRICE
PAVIS
pp209@kent.ac.uk
SOPHIE
QUIRK
sq@kent.ac.uk
JARMAN 2-20
DUSKA
RADOSAVLJEVIC
dr96@kent.ac.uk
JARMAN 2-39
NICOLA
SHAUGHNESSY
ns15@kent.ac.uk
JARMAN 2-48
ROBERT
SHAUGHNESSY
rs83@kent.ac.uk
ELIOT W2.S2
SIAN
STEVENSON
ss212@kent.ac.uk
JARMAN 2-21
JAYNE
THOMPSON
jet3@kent.ac.uk
JARMAN 2-41
MELISSA
TRIMINGHAM
mft3@kent.ac.uk
JARMAN 2-16
ANGIE
VARAKIS-MARTIN
av43@kent.ac.uk
JARMAN 2-43
FREYA
VASS-RHEE
fvr@kent.ac.uk
JARMAN 2-47
WILL
WOLLEN
ww73@kent.ac.uk
JARMAN 2-25
TBC
TURING
MASTER’S OFFICE
TBC
DRAMA PRODUCTION / TECHNICAL TEAM
FAITH
AUSTIN
fa262@kent.ac.uk
ELIOT W3.S3
EOIN
FURBANK
ef235@kent.ac.uk
ELIOT W3.S4
DANIEL
SKELTON
djs63@kent.ac.uk
ELIOT W3.S5
SAM
WESTBURY
psw5@kent.ac.uk
MARLOWE WORKSHOP
3
DRAMA ADMINISTRATION
CORINNE
SMALLMAN
cks6@kent.ac.uk
JARMAN RECEPTION
REHEARSAL ROOM BOOKINGS
NAOMI
EVANS
ne81@kent.ac.uk
JARMAN RECEPTION
JARMAN RECEPTION
NIKKI
DENNING
njd23@kent.ac.uk
JARMAN RECEPTION
(01227 827228)
DRAMA SESSIONAL STAFF
GEY PIN
ANG
gpa@kent.ac.uk
ELIOT W3.S1*
KRISTA
BONELLO-R-G
kb362@kent.ac.uk
ELIOT W3.S1*
ASTRID
BREEL
amb75@kent.ac.uk
ELIOT W3.S1*
LAURIE
GILLOW
lg349@kent.ac.uk
ELIOT W3.S1*
TORY
GILLESPIE
tg249@kent.ac.uk
ELIOT W3.S1*
PHOEBE
MARSH
tbc
ELIOT W3.S1*
MAYA
MILLATOVICOVADIA
mm830@kent.ac.uk
ELIOT W3.S1*
MARY
MCNULTY
mm310@kent.ac.uk
ELIOT W3.S1*
SARAH
MILLS
sm901@kent.ac.uk
ELIOT W3.S1*
GABRIELLE
MOLETA
gm308@kent.ac.uk
ELIOT W3.S1*
HANNAH
NEWMAN
hmn@kent.ac.uk
ELIOT W3.S1*
DAISY
ORTON
do210@kent.ac.uk
ELIOT W3.S1*
PABLO
PAKULA
pa67@kent.ac.uk
ELIOT W3.S1*
EMMA
REEDER
elr24@kent.ac.uk
ELIOT W3.S1*
JUNGMIN
SONG
s_jungmin@hotmail.co
m
ELIOT W3.S1*
SARAH
PASSFIELD
@kent.ac.uk
ELIOT W3.S1*
JUDITA
VIVAS
jv93@kent.ac.uk
ELIOT W3.S1*
ROBBIE
WILSON
rzw3@kent.ac.uk
ELIOT W3.S1*
4
*NOTE: THIS OFFICE IS SHARED WITH ALL SESSIONAL STAFF AS THEY ARE NOT ON CAMPUS
EVERYDAY – PLEASE EMAIL TO MAKE AN APPOINTMENT IN ADVANCE.
THE SHAPE OF YOUR DRAMA DEGREE
During years one to three, all Single Honours and Joint Honours students are taught together for
most modules and in these cases we make no differentiation between the two. In fact, most staff
don’t know who’s a Single Honours and who’s a Joint Honours student – you are all part of the same
experience.
The University officially speaks of ‘Stages’ rather than years. Each Stage has a different Level with an
official name:
STAGE ONE = Level 4
STAGE TWO = Level 5
STAGE THREE = Level 6
STAGE FOUR = Level 7
So, if you hear Drama staff talking about ‘Level 4’ or ‘Level 5’, that’s what they mean. You take 120
credits worth of modules at each Stage of your Degree.
STAGE ONE
Your first year is the introductory stage of your course where marks achieved do not contribute to
your final Degree result. In order to proceed to the rest of your studies, however, you must pass all
120 credits (all modules) from Stage One as this year gives you basic foundational knowledge that is
vital for your future studies and indeed your professional career. Two Stage One modules are yearlong (Modern Theatre and The Empty Space) and are taken by all drama students, while Single Hons
students will also take the term-long modules Texts for Theatre (Autumn) and Stagecraft (Spring).
Please see the Stage One Programme Rubric for more information on the requirements and modules
available to you:
http://www.kent.ac.uk/humanities/documents/ug/handbook/stage1/1314/handbook.pdf
STAGE TWO
After Stage One, you have the freedom to make choices within the Programme, while following a
balanced curriculum of studio-based and seminar-based modules. All Drama modules in Stages Two
carry 30 credits. Single Honours students choose four Drama modules (worth 120 credits) from the
various lists of options whereas Joint Honours students choose two Drama modules (worth 60
credits) from the various lists of options (their remaining 60 credits come from their other subject).
You may also choose to take what is rather outlandishly named a ‘wild module’. This is a module that
is not taught by the Drama department, or if you are Joint Honours, by your other subject area.
Single Honours students are entitled to take up to 25% (i.e. 30 credits) of ‘wild modules’ at each
Stage. Registration must be arranged yourself with the subject offering the module. Joint Honours
students are also able to choose a wild module but at either Stage Two or Three only.
5
STAGE THREE
In Stage 3 Single Honours students must take either DR678 Creative Project (in which students form
companies and undertake practical projects) or ART500 Independent Project (in which students
undertake a written research project). Single Honours students select their other 90 credits from a
range of Drama module options and students may also take a ‘wild’ module. For Joint Honours
students, DR678 Creative Project and ART500 Independent Project are optional; they may do either or
both as part of their 60 credits in Drama.
Please see the Programme Rubric for more information on the requirements at these Stages and
optional modules available to you (please note that the modules on offer are subject to change each
year owing to staff expertise and availability):
https://www.kent.ac.uk/hsugo/files/handbooks/humanities-2/drama.pdf
WORK IN THE SUMMER TERM
You may find that you have only a small amount of formal teaching in the Summer Term however
there is still plenty to do:
 For some modules you may have rehearsals in the Summer Term or group preparation towards
assessed presentations.
 You should attend the School’s employability workshops, which run in the Summer Term.
 You will probably have final coursework to complete (e.g. essays, dissertations) or other written
assignments in the Summer Term and will want to make use of the Library and computing
facilities in completing your coursework.
 If you are a Joint Honours student, you may have formal examinations for your other subject.
 There are many exciting opportunities for getting involved in Drama activities (e.g. working with
Postgraduate students on their practical projects and Student Summer Term projects).
 Use the Summer Term for independent study, further research and for your personal
development.
GRADUATE THEATRE COMPANY SCHEME
Each year, the School of Arts runs a Graduate Theatre Company Scheme in which we offer an 18month residency to a new theatre company that has emerged during the undergraduate drama
programme in order to help them build and develop their work.
WHAT’S ON OFFER?




Structured mentoring programme
Use of University facilities (e.g. shared office, computer logins, library, parking etc)
Use of Drama spaces for rehearsing and developing work
Webpage on School of Arts website
WHAT’S EXPECTED OF YOU?




Performances to take place in Drama spaces
Offering workshops, mentoring etc to current students
Help with recruitment (e.g. performing at Open Days)
General support for Drama
6
Applications are invited from final year students and recent graduates towards the end of each
academic year so if you’re in your last year of study and this sounds like something you might be
interesting in pursuing, remember to watch your email inbox in April!
STUDYING IN THE DRAMA DEPARTMENT
As a university student, you now have to learn to manage an ever-increasing and ever more
demanding volume of work – and you must start to do so at the very beginning of your first year! It
may strike you initially that you have only 6-12 contact hours with your tutors and that you normally
do only two modules per Term. However, you are expected to devote a full working week to your
university studies. Try to remember that university is all about self-directed learning, individual
research and your own work. The weekly sessions are where you meet with other people and
receive guidance but, just like later in the workplace, the most important parts of your work as a
student are the things you do yourself, with direction but under your own steam.
To make the most of your time at university, this means that you must learn to plan and manage
your time and workload really carefully and use the timetable with your scheduled classes as a basis
for planning in the remaining hours of a full working week to include private study, preparing for the
course, reading, research, writing up, group work, rehearsing, training, preparing your assignments,
etc.
Here are some key tips to help you organise your study:
1. Read the School of Arts 2015-2016 Undergraduate Student Handbook, this Drama Student Guide,
the Technical and Production guidance on Moodle and your Module Moodle Pages so you are
fully aware of our procedures, conventions, standards, and expectations.
2. Make a note of all timetabled events and deadlines and be responsible for planning and
preparing in good time.
3. Inform the Module Convenor by email beforehand if you have to miss a class.
4. If you need books to prepare for essays, order them in good time from the bookshop or borrow
them from the Library and return swiftly for other users.
5. It is vital that you do not miss deadlines. Assessed work MUST be handed in on time or you will
get a mark of 0% for that assignment. Do not leave working on assignments, whether written or
practical, until the last minute.
6. If you need equipment or support for practical work, you should contact the Drama Technical
Team in good time.
7. Ensure that you comply with Health and Safety requirements as highlighted on the Drama
Production Moodle Page.
8. Alert our Student Support Officer to any personal difficulties or circumstances that might affect
your performance. If you need to make your tutors aware of confidential information or issues,
these should be conveyed through the Student Support Officer who keeps your student file and
who will keep full confidentiality.
7
9. Staff and students should ensure that they are familiar with the University Policy Document:
Dignity at Work and Study Policy and Procedures. We are not prepared to accept bullying,
harassment or discrimination in any form and offences may result in serious disciplinary action.
TYPES OF TEACHING IN DRAMA
LECTURES
By discussing key aspects of a module, lectures will introduce theoretical concepts and perspectives,
familiarise you with special terminology and introduce new material and ideas. They are about
thinking and understanding, not just about pieces of information. During lectures, you should try
not to distract yourself by writing everything down – take some notes of essential keywords or
thoughts and feel free to ask questions or ask for clarification of terminology that may still seem
unfamiliar or puzzling. After the lecture, write up your notes and consult the set reading for revision
indicated during the lectures or on the Module Moodle Pages. Writing up your notes soon after the
lecture gives you a good platform from which to undertake further individual study and also to
prepare for the seminars. Always note down anything that is unclear after the lectures: raise this
with your fellow students and come equipped with a list of questions to the seminars.
SEMINARS
Seminars are about actively participating. They offer you the chance to discuss the subjects of the
current week’s lecture and reading. Seminar discussion can only fully succeed when all members of
the group are committed and involved. If everyone comes prepared and full of questions emerging
from revision of the lectures, from reading the set material and from spending additional time to
think and respond to it, a seminar discussion is a great opportunity to share, consolidate, apply and
expand knowledge. It is the place to ask about aspects you are not clear about, to discuss what you
have read and to listen and respond to what others say. Crucially, by putting forward ideas and
debating and discussing them with your tutor and your fellow students, you are rehearsing the kinds
of arguments you will make in essays and seminar presentations. There is no need to be nervous
about asking ‘stupid’ questions. That’s precisely the purpose of a seminar – to test ideas, to raise
questions and clarify your understanding. It’s not so much about showing off knowledge but sharing
and increasing insight together.
WORKSHOPS
Workshops are practical classes in which you might develop your creative skills and learn
contemporary or historical techniques. Workshops normally take place in one of the Drama studio
spaces and focus on many different aspects of making theatre and performance such as acting,
performing, devising, directing, design, lighting, sound, construction, marketing, producing, writing a
script and so on. As with seminars, you will be asked to prepare thoroughly for workshops. This will
probably involve reading or research as well as practical work which you will need to do under your
own steam. As with seminars, some of the work you carry out between workshops will be done
individually but you may also be assigned specific tasks to be done in small groups.
8
INVOLVEMENT IN PRACTICAL WORK
Some modules will involve practical assessments in which you might be asked to mount a full-scale
production or give a smaller performance. In addition to this, you might want to contribute to
somebody else’s performance on an extra-curricular basis or take part in a production mounted by
one of the student Drama societies such as T24. The Drama Department has a strict policy on
involvement in practical work, whether it is carried out for a module assessment or as part of your
extra-curricular activities:





Production or project work must not interfere with your work for other modules – that is you
must not miss classes, hand in written work late or fail to revise for examinations because of such
work.
Involvement in productions or projects is not an acceptable reason for missing classes, for the
late submission of assignments or for being granted extensions to deadlines.
Directors of productions or projects must not schedule rehearsals or presentations so as to
prevent students from attending classes, nor so as unreasonably to interfere with assignment
writing or revision.
If students taking part in productions or projects feel their work for other modules is being
adversely affected, they have the right to insist on classes, assignments and revision taking
precedence and should report the problem to the Convenor of the production work immediately.
Likewise, work for any University Society will NOT be accepted as an excuse for absence from
classes or failure to complete module requirements.
The Department fully recognises the contribution that students make to its production work and
how this helps to enable the high production standards achieved, which we hope to maintain.
Nevertheless, it is important for your studies and academic progress, that this should not be
achieved at the expense of your contribution to other parts of your Programme.
CONTACTING STAFF, EMAIL AND COMMUNICATIONS
It is really important that you check your email regularly and keep an eye out for emails from your
teachers. It may be that you receive a large number of general emails from both within the School of
Arts and from the wider university, but it is your responsibility to keep on top of your inbox and
regularly check for important communications. You may be disadvantaged if you miss important
information because you have not checked your email (you may miss details of homework, be
unaware of room changes, miss out on extra opportunities etc).
All members of staff will have one or two designated ‘office hours’; this is time the staff member has
put aside specifically to answer student questions and help with module-related queries. Sometimes
staff may need to see a few students during their office hour, so you may have to wait a little before
being seen, but make sure you knock on the door and let the staff member know you are there.
Office hours are a good opportunity to speak to staff about assessments, problems with reading or
lecture materials, group work or rehearsals; if your query is about a personal or medical matter, it
should be taken to our School of Arts Student Support team who will be better equipped to help you.
Individual staff emails are listed on pages 4 and 5 of this handbook. Staff members check their emails
regularly but it is not realistic to assume that they will receive your email on the day or the day after
9
you send it. Emails are an appropriate way to ask staff brief, simple questions about practical or
organisational matters or to inform a staff member of a future absence. It is recommended that you
go and speak to your teacher in person if you have more complex queries about coursework or
assessments.
EXPECTED STANDARDS OF CONDUCT
All drama students are expected to abide by the following rules. Failure to do so will not only make it
difficult for staff to teach, but will negatively impact upon your own learning and the learning of your
classmates. These standards reflect what will be expected of you in any professional working
environment and by insisting on these standards, we aim not only to foster a positive learning
environment but also to increase your employability.
Respect for Learning - Preparation:




Come appropriately dressed for the kind of learning activity you are undertaking. For practical
classes dress in loose clothing.
Be punctual – late arrivals are highly disruptive. If you arrive late, your tutor may refuse to allow
you to participate in the session and if you are more than 15 minutes late to any class, seminar or
workshop, you will be marked absent.
Undertake preparation for seminars as required - this may involve doing homework, but may also
mean making sure you have eaten and have brought a bottle of water.
Attend unsupervised rehearsals conscientiously - these may be monitored through some form of
log and are an important part of your learning.
Respect for Learning - In-class behaviour:



Mobile phones should not be used in class (unless part of a teacher-led activity). Leave your
mobile in your pocket with the sound turned off.
Students with Individual Learning Plans may need to use laptops, tablets or recording materials.
Other students may choose to take notes in-class via electronic devices; if so, please check with
your teacher if it is appropriate. If using a device in class, you should only do so in a way that
does not impact on the learning experience of others. Do not check social media or emails (this is
distracting for you and those sitting next to you!) and make sure your notifications and sound are
turned off.
Take care to use respectful language towards students and staff at all time. Respect the
contributions of others; classmates may think differently to you and while you may disagree with
their opinion, you must respect their right to express it.
Communications:



Be respectful to staff and students in all written and electronic communication. Remember
emails are potentially public, published documents, and care should be taken to communicate
with appropriate formality.
It is unrealistic to expect staff to read and answer emails at evenings and weekends.
Keep copies of all important email, written or online communications.
10
Caring for Facilities:





No eating in class or in any of the Drama spaces.
Remove shoes in Jarman Studios unless specifically instructed not to do so by your teacher.
Leave spaces clean and tidy; you are responsible for making sure the room is left with no
rubbish, with all production materials appropriately stored, with a clean floor, with all chairs
and tables put away, and without any damage to curtains, walls, mirrors, or equipment.
This will mean finishing your rehearsals early with sufficient time for clean-up.
Students who are found mistreating our spaces or equipment will be penalised. They may be
banned from using Drama spaces or – in severe or repeated cases – asked to deregister from
the Programme. If you notice other students deliberately misusing or damaging our spaces
and equipment or not reporting an incident, please speak to members of the Technical Team
in confidence about it.
Any breach of these expected standards of conduct may result in disciplinary procedures and/or
sanctions placed on a student’s access to spaces and equipment. Students should also be familiar
with the standards of behaviour required under the Student Charter by University regulations.
PRESENTATION OF WRITTEN WORK
Your written work must be presented in a clear and professional manner. Submissions must be typed
and printed; handwritten scripts are not acceptable. Being familiar with the use of computers and the
essential formatting features of programmes such as Word, Excel, Powerpoint, and other Office
applications, is a core personal skill, and you should use your time at University to acquire and expand
these skills. Computing Services run regular workshop and tutorials to boost your skills which are
indispensable for any future career (even in theatre!). Visit their website at:
http://www.kent.ac.uk/is/computing
Please note that any failure to adhere to the Style Guide published below may result in lower marks
for written submissions, regardless of content quality.
BASIC FORMAT
1. Properly complete the Electronic Cover Sheet and attach it to your work prior to submission.
2. Your work must be double-spaced and pages should be numbered.
3. To help us give you good written feedback, also leave an adequate margin for comment and
corrections (minimum 3.5 cm) on the left-hand side of the page.
4. Use a standard font such as Times New Roman and no smaller type than a 10-point font.
5. Titles of plays, books, journals, magazines, newspapers, long poems etc., must be set in italic. Titles
of articles, or essays within a journal, magazine, or book, or chapters of books, or poems must be set
‘in inverted commas’.
6. Always print a word count at the end of your assessment. The word count is inclusive of integrated
quotations, but excludes the bibliography, indented quotations of four more lines, footnotes and
appendices. Most written assessments will state the required word count and you need to be within
10% of this target to avoid penalty.
11
7. Carefully proof read before submission, and correct typographical and grammatical errors (spelling,
punctuation, incomplete sentences…).
QUOTATIONS
1. Short quotations, of less than four lines, should be run in as part of the text, in double inverted
commas. Two or three lines of verse from a play or poem may run on with the lines separated by a
back-slash: e.g. “The Drama's laws the Drama’s patrons give / For we that live to please, must please
to live.”
2. Longer quotations of four or more lines or several lines of dialogue, etc., should be indented from
the main body of the text, italicized and not enclosed in inverted commas. Such quotations should
be single-spaced and separated from the main body of the text by an extra line space.
3. Ellipsis: If you wish to skip over part of a sentence or paragraph which is being quoted, indicate this
by an ellipsis – three spaced dots (thus...). For example, to drop out part of the sentence: “Broadway
is not a jungle, it is a machine into which a great many parts snugly interlock”, quote it this way:
“Broadway ... is a machine into which a great many parts snugly interlock”.
REFERENCES
Whenever you use someone else’s words or present someone else’s ideas, you must provide a
reference both in-text and within your bibliography. The only time you do not need to provide a
reference for information taken from another source is when the information may be considered
‘common knowledge’ eg. you do not need to offer a reference if you stated that Shakespeare was an
Elizabethan playwright and poet, or that actor and director Sam Wanamaker was instrumental in
facilitating the rebuilding of The Globe though it was completed after his death.
You must reference both:
• Direct quotations – this is when you present another’s material word-for-word. Try to avoid the
overuse of direct quotations and remember to paraphrase where possible. Please note that
when you use direct quotations, you must reproduce the author’s words exactly, including all
spelling, capitalisation and punctuation.
• Paraphrasing – this is when you use your own words to present another’s ideas. put them into
your own words. Even though you have changed the wording, you are still copying someone
else’s work so you must provide a reference clearly showing the reader the original source of
your information.
The standard referencing system used for written work in Drama and Theatre is the Harvard system
of (Author Year: Page) with a corresponding bibliography. Do not use footnotes for referencing. This
system enables you to provide clear and accurate references for the information and ideas that you
have made use of in your writing and research, without the need to jump between the main text and
foot-or endnotes; these should be reserved for additional explanations, definitions, or commentary,
but not referencing (footnotes are like Shakespearean ‘asides’ to the reader).
Referencing is easy to do as long as you keep track of the relevant information as you work, which
means keeping a full record of the bibliographic details of the sources you are using. A good idea
might be to make use of referencing software: the University has a license for REF works, which you can
use for free: more information about this can be found here:
http://www.kent.ac.uk/library/resources/reference-management/refworks/
12
EXAMPLE:
A distinctive feature of Kumonosu-jo is Akira Kurosawa’s tendency to ‘purposely restrict…himself’
(Richie 1973: 120).
Or:
Richie argues that Kurosawa tends to ‘purposely restrict…himself’ (Richie 1973: 120).
REFERENCE IN YOUR BIBLIOGRAPHY: Richie, D. (1973), The Films of Akira Kurosawa, Berkeley:
University of California Press.
Occasionally, you will want not to quote directly from a source but to alert the reader to the
theoretical or critical background to, or context of, your discussion. In such instances, an allusion to,
or summary of, the relevant critical work will be accompanied by a reference to the source in its
entirety. In the example given below, the citation is designed to suggest to the reader that the key
terms (cultural field, cultural spaces) are derived from Bourdieu’s work.
EXAMPLE:
Successful intercultural performance stretches the boundaries of the cultural field…by creating new
theatrical and cultural spaces through a complex negotiation of possible positions within the field
(Bourdieu 1993).
REFERENCE IN YOUR BIBLIOGRAPHY: Bourdieu, Pierre (1993) The Field of Cultural Production: Essays
on Art and Literature, Cambridge: Polity Press.
REFERENCING PLAYTEXTS
In many instances it is possible to use the Harvard system when quoting from the published edition
of a playtext, e.g.
DAVIES picks up the statue of Buddha.
DAVIES. What’s this?
ASTON (taking it and studying it). That’s a Buddha.
DAVIES. Get on.
ASTON. Yes. I quite like it. Picked it up in a…in a shop.
Looked quite nice to me. Don’t know why. What do
you think of these Buddhas?
DAVIES. Oh, they’re…they’re all right, en’t they?
(Pinter 1960: 17)
REFERENCE IN YOUR BIBLIOGRAPHY: Pinter, Harold (1960) The Caretaker. London: Methuen.
In other instances, particularly with pre-twentieth century texts in modern editions, you should
usually quote with reference to act, scene and line, and specify in your bibliography which edition
you are using. Thus,
To be, or not to be – that is the question;
Whether ‘tis nobler in the mind to suffer
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The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles
And by opposing end them…
(3.1.55-9)
That is, Act 3, Scene 1, lines 55 to 59. In this instance, the quotation is from the Arden (third series)
edition so this should be cited as follows:
Thompson, Ann and Neil Taylor, eds (2006) Hamlet, 3rd Edition, London: Arden Shakespeare.
The conventions vary from period to period, and according to the types of texts you are using, so feel
free to consult your module tutors for advice.
BIBLIOGRAPHY
At the end of your essay, you will supply an alphabetical list of works cited. A full bibliography also
states all works which you have used in the process of your research, but not directly quoted in your
essay.
Here are some referencing instructions with examples:
Book with one author: Author Surname, First name (Publication year in brackets) Book title in
italics, Edition – if not the first. Place of publication: Publisher.
Auslander, Philip (1997) From Acting to Performance: Essays in Modernism and Postmodernism,
London and New York: Routledge.
Osborne, John (1993) Plays: One, London: Faber and Faber.
Goldberg, Rosalee (2011) Performance Art: From Futurism to the Present, 3rd Edition. New York:
Thames and Hudson Ltd.
Book with two or more authors: Author Surname, First name, and Author 2 First name and Surname
(Publication year in brackets) Book title – italicised, Edition – if not the first. Place of publication:
Publisher.
Eg. Allain, Paul and Jen Harvie (2006) The Routledge Companion to Theatre and Performance,
Abingdon and New York: Routledge.
Books with an editor/s: Surname, First name (ed.) (Publication year in brackets) Book title in italics,
Place of Publication: Publisher.
Eg. Delgado, Maria and Dan Rebellato (eds.) (2010) Contemporary European Theatre Directors,
Abingdon: Routledge.
Chapter in an edited book: Surname , First name of the author writing the chapter (Publication year
in brackets) ‘Title of chapter’, in First name and Surname of author or editor of book (ed.) or (eds.).
Book title – italicised, Edition – if not the first. Place of publication: Publisher.
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Eg. Kennedy, Dennis (2004) ‘Confessions of an Encyclopaedist’, in W. B. Worthen and Peter Holland
(eds.) Theorizing Practice: Redefining Theatre History, Basingstoke and New York: Palgrave
Macmillan.
Article in a journal: Author(s) of article’s Surname, First name (Publication year in brackets) ‘Title
of article’, Title of journal – italicised, Volume number (Part number/month in brackets) page
numbers of the article.
Eg. Barnett, David (2002) ‘Heiner Müller as the End of Brechtian Dramaturgy: Müller on Brecht in
Two Lesser-Known Fragments’, Theatre Research International, 27 (1) 49-57.
Eg. Mitchell, Roanna and Pablo Pakula (2012) ‘Imagining O Encountering India’, Studies in South
Asian Film and Media, 2 (4) 179-189.
Fims, dvds, videos: Director, Year of release, Title of film in italics, Country of origin:
Distributor/Publisher or Network, Duration in minutes.
Eg. Allers, Roger and Robert Minkoff, dirs. (1994) The Lion King, USA: Disney, 88 mins.
Website: Author of website Surname, First name or website name if no author is available. (Year - in
brackets) Title of website in italics, [Online in square brackets] Available at: URL [Accessed: followed
by date in square brackets].
Eg. BBC News (2014) Alston pupils unearth 4,000 year old gold hair tress, [Online] Available at:
http://www.bbc.co.uk/news/uk-england-28645612 [Accessed: 4th August 2014].
Material from a Theatre Programme: Director’s Surname, Firstname or Company name if ensemble
(year of performance) ‘Section of text quoted’, Name of production programme, Theatre, Place of
performance, Days and Months of the performance season at this venue.
Eg. Lepage, Robert (1997) ‘Director’s Note’, Elsinore programme, Royal National Theatre, London, 411 January.
Theatre review or newspaper articles: Author’s Surname, First name (Year of publication) ‘Title of
review/article’, Publication it appears in, day and month of publication.
Eg. O’Connor, Garry (1977) ‘Review of A Midsummer Night’s Dream’, Financial Times, 9 May.
Course materials printed: Lecturer/Author’s Surname, Firstname (Year) ‘Title of item’, Module Code
Module title, University of Kent, unpublished.
Eg. Thompson, Jayne (2014) ‘Naturalism Lecture Notes’, DR315 Modern Theatre, University of Kent,
unpublished.
Course materials online: Lecturer/Author’s Surname, Firstname (Year) ‘Title of item’, Module Code
Module Title [online via Moodle/Website], University of Kent. Available at: web address if available
over the internet, otherwise indicate if available through WebCT, SharePoint or other virtual learning
environment address [Accessed date].
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Eg. Klich, Rosemary (2014) ‘Immersive Theatre in the UK’, DR592 New Directions [online via Moodle],
University of Kent. Available at: https://moodle.kent.ac.uk/moodle/course/view.php?id=515
[Accessed 25th June 2014].
If applicable and appropriate, your bibliography may be divided into Primary Sources (e.g. plays,
historical documents, reports) and Secondary Sources (e.g. works of criticism and reference,
reviews). You therefore see that the reference from your main text (Kennedy 2004: 36) can be easily
mapped to its source with the bibliography.
SOME ADDITIONAL NOTES



If you use several publications by the same author from the same year (say, two publications by
Dennis Kennedy from 2004), use ‘Kennedy 2004a’ and ‘Kennedy 2004b’ to distinguish these in
your referencing. If you use several publications by the same author from different years, the
years themselves will do the trick, and you don’t need a’s or b’s.
If you reference from chapters in edited books, your bibliography must contain both the essay
and the ‘main book’. For the earlier Kennedy 2004 example, you would thus also have Holland’s
and Worthen’s book itself in your bibliography. Please note that you must state in your reference
the page numbers of the essay within the book (’30-46’, in the above example).
Quoting from online versions of published journals is different from quoting genuinely webbased material: You quote, for example, from Theatre Research International as if you had
consulted the printed issue, as the online version (usually a PDF document or similar) is exactly
the same. The library also makes more and more books available as online editions; in this case,
also quote as if from the printed book. Referencing Performances is also easy: Author (if a play
e.g. Shakespeare), Name of Company or Director/Choreographer (if devised, e.g. Forced
Entertainment), Year of production/premiere, Title of work, Director, Designer, Other artistic
collaborators (especially if you refer to them in your work), Venue/Place of original production,
Date and place/venue where you have seen the production (if applicable).
FOOTNOTES AND ENDNOTES
When using the Harvard system, to reference within the text of your essay, you only need to supply
(in parenthesis) the author’s name, date of publication, and page numbers. You do not need to use
footnotes (located at the bottom of the page) or endnotes (located at the end of the document) for
referencing purposes. However, you might wish to use footnotes to supplement the main body of
the essay with material which cannot be readily accommodated there, to refer to further reading, or
to introduce qualifications or counter-arguments which you wish the reader the consider. For
example:
Always interested in stirring up controversy, Schechner declared that ‘The new paradigm is
“performance”, not theatre. Theatre departments should become “performance
departments” (1992: 9). Predictably and appropriately, this aggressive gesture provoked a
number of responses, some quite violent.1
Always make sure you use Arabic numerals for footnotes and endnotes.
1
See Worthen (1995) for a carefully reasoned response to Schechner, and the many responses Worthen printed in the
same issue of TDR.. For a less temperate response to Schechner, see Hornby (1995). (Auslander 1997: 2, 141)
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THE DRAMA TECHNICAL DEPARTMENT
DRAMA PRODUCTION MOODLE PAGE
To enter the Drama Production Moodle Page, you will need to get registered! To do this, you need
to:
1. Go to Moodle and Search for ‘Drama Production’
2. Enter the Password ‘ProduceIt’ (all one word)
3. You should now have access!
This page is administered by the Drama Technical Team and will provide you with a wealth of
technical information which will help you create safe but exciting work. Information on Yellow Cards
and Space Inductions (required to book rehearsal spaces), Technical Equipment Bookings, Health and
Safety, Risk Assessments, Studio Plans/Specifications, Sound, Lighting and Budgeting can all be found
here! If you have any specific questions and can’t find the answer on the Moodle Page, please
email our Senior Drama Technician, Daniel Skelton, on djs63@kent.ac.uk.
HEALTH AND SAFETY AT DRAMA REHEARSALS / DURING PRODUCTIONS
Health and Safety is an integral part of all Drama Programmes at the University of Kent. Risk
Assessments are a standard part of the artistic and design planning process for any rehearsal or
production and are required by Law. Clearly laid out guidelines and advice on safe working practices
have been produced by the ABTT to cover areas of work such as Rigging, Firearms and Flying. All
members of staff have the authority to stop any performance or rehearsal work from happening,
even in the very midst of it, if the work fails to comply with safe practice. Full details of the
requirement to Risk Assess and all specific Drama Health and Safety Policies can be found on the
Drama Production Moodle Page (as mentioned above).
ROOM BOOKINGS
Drama students are able to book any of our studio or seminar rooms for module associated
rehearsal work. Please see below for key information regarding this process:




Drama students must have undertaken a Technical Induction and have their student card coded
in order to book a rehearsal room.
The number of hours you can book rehearsal spaces, and the rooms available to you, will vary
between modules based on the specific requirements of the assessment tasks you are required
to undertake. In order to ensure that students undertaking large practical assessments have
access to practical spaces, students will only be able to book seminar rooms for some modules.
Such restrictions ensure that our facilities are being used in the most efficient and appropriate
way in order to ensure parity and benefit all students. See module Moodle pages for details
about allowed room booking allocations.
Rooms can be booked a fortnight in advance (current week and the week ahead). Room bookings
for the week after open at 1pm on Fridays of the current week.
Students cannot book rooms before 9am or after 10pm.
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

Keys for spaces should be collected and returned to Campus Watch.
The Jarman Building is not available at weekends to Stage 1 or Stage 2 students.
All module associated room bookings must be processed via the Technical Resources Coordinator,
Naomi Evans, at Jarman Reception. Please see the Drama Production Moodle Page for more
information on Technical Inductions.
USEFUL WEBSITE LINKS AND RESOURCES
SCHOOL OF ARTS KEY LINKS
SCHOOL OF ARTS 2014-2015 UNDERGRADUATE STUDENT HANDBOOK:
http://www.kent.ac.uk/arts/studentpages/pdfs/Arts-UG-handbook-2013-14.pdf
(This will provide you with important general information about studying in the School of Arts)
SCHOOL OF ARTS WEBSITE: http://www.kent.ac.uk/arts/studentpages/index.html
FACULTY OF HUMANITIES WEBSITE:
https://www.kent.ac.uk/humanities/undergraduate/index.html
DRAMA SPECIFIC ONLINE LIBRARY RESOURCES
For full information on the extensive Library resources available to you as Drama students, please
visit:
DRAMA SUBJECT GUIDE: http://www.kent.ac.uk/library/subjects/drama/index.html
This will provide you with details on the most useful Book and Print Journals (and where to find them
in the Library!), Online Journals, E-Books, Reference Material, Newspapers, Special Collections,
Online Subject Resources and much more to help you with your studies.
POSTGRADUATE OPPORTUNITIES
Apart from teaching you, the Drama Department at Kent is one of the biggest and most distinguished
Research Departments in the UK and there are many opportunities to get involved after your
Undergraduate Degree:
SCHOOL OF ARTS POSTGRADUATE WEBSITE: http://www.kent.ac.uk/arts/pg/index.html
LOCAL ARTS VENUES
There’s lots of exciting theatre work going on in some great organisations on and not too far from
the Canterbury Campus! Check out their websites for more information on what’s coming up soon:
GULBENKIAN THEATRE (ON CAMPUS): www.kent.ac.uk/gulbenkian
MARLOWE THEATRE (CANTERBURY): www.marlowetheatre.com
HORSEBRIDE ARTS & COMMUNITY CENTRE (WHITSTABLE): www.horsebridge-centre.org.uk
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