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

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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

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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 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 TURING

MASTER’S OFFICE

PATRICE PAVIS pp209@kent.ac.uk TBC

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

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

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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 MILLATOVIC-OVADIA

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.com

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*

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*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 year-

long (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.

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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 18-

month 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

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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.

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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.

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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

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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.

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.

EXPECTED STANDARDS OF CONDUCT

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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.

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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/

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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, 4-

11 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 web-

based 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