London Theatre Programme

The eight weeks of training begin with community workshops on Boundaries and Consent, and then comprise:

• Acting (classes and tutorials, 1 credit, memorization required): Acting classes and tutorials use both classical and modern texts to examine the fundamental principles of a contemporary post-Stanislavskyan acting methodology.
• Shakespeare (classes, 2 credits, memorization required): a contemporary and progressive approach to acting Shakespearean text, focusing on clarity, psychology and performance conditions, and responding to discourses around identity and ownership.
• Comedy (classes, 1 credit, memorization required): classes examining the acting of plays from the Restoration and comedy of manners traditions, focusing on verbal and mental dexterity, heightened performance style and comic timing.
• Physical Theatre (classes, 1 credit): classes in the Lecoq/Gaulier physical theatre tradition, focusing on improvisation, physical presence and ensemble performance.
• Voice (classes, 2 credits, memorization required): classes in the fundamentals of voice, focusing on breath, body, articulation and the connection of voice & text.
• Movement (classes, 2 credits): classes training the actor’s body for performance, drawing on a variety of contemporary movement methodologies.
• Stage Combat (classes, 1 credit): classes in unarmed combat focusing on safety, control, period styles, and technical virtuosity.
• Dramatic Criticism (seminars, 1 credit): seminars respond to the weekly theatre visits during the first seven weeks, encouraging students to develop fresh ways of watching, thinking and writing about theatre in the digital age. Formal written work is a component of the class.
• Analysis (classes, 1 credit): Analysis classes consider the playtext as a product of the political, social and psychological moment of its creation and of the material circumstances of performance, while simultaneously examining dramatic text as a blueprint for contemporary performance. Detailed analysis of one or more scenes from classic plays will be undertaken during the semester and an annotated scene script will be submitted for assessment.

The final five weeks of the programme are devoted to:

• Acting in Performance (rehearsals, performance, 3 credits, memorization required): Students will rehearse studio productions of British and European classical plays, culminating in performance in a small-scale professional theatre. Each production is led by a professional director, working with professional creative and technical teams.

Additionally, the first eight weeks of classes include:

• Weekly theatre trips to see significant productions at major theatres
• Masterclasses and Q&As with leading UK theatre practitioners, including actors, directors and other creative specialists. Recent Masterclass instructors include Brian Cox, Bryan Cranston, Sope Dirisu, Brandon Victor Dixon (MIO ’98), Julian Glover, Henry Goodman, Anna Gunn (LTP ’88), Greg Hicks, Robert Icke, Adam Kantor (MIO ’06), Fiona Shaw, Owen Teale and Deborah Warner.

The eight weeks of training begin with community workshops on Boundaries and Consent, and then comprise:

• Directing (18 hours of seminars and 16 hours of tutorials, 1 credit): Through seven one-to-one weekly tutorials and six three-hour seminars, the directing students will examine the history and practice of theatre directing with particular reference to Shakespeare and texts from the European classical canon. Students will be required to consider the application of the principles of actor training studied in other classes to the task of directing actors and collaborating with a creative and technical team, and will be guided towards the creation of a concept pitch for a production of a classic play for their portfolio.
• Acting (classes and tutorials, 1 credit, memorization required): Acting classes and tutorials use both classical and modern texts to examine the fundamental principles of a contemporary post-Stanislavskyan acting methodology.
• Shakespeare (classes, 2 credits, memorization required): a contemporary and progressive approach to acting Shakespearean text, focusing on clarity, psychology and performance conditions, and responding to discourses around identity and ownership.
• Comedy (classes, 1 credit, memorization required): classes examining the acting of plays from the Restoration and comedy of manners traditions, focusing on verbal and mental dexterity, heightened performance style and comic timing.
• Physical Theatre (classes, 1 credit): classes in the Lecoq/Gaulier physical theatre tradition, focusing on improvisation, physical presence and ensemble performance.
• Voice (classes, 2 credits, memorization required): classes in the fundamentals of voice, focusing on breath, body, articulation and the connection of voice & text.
• Movement (classes, 2 credits): classes training the actor’s body for performance, drawing on a variety of contemporary movement methodologies.
• Dramatic Criticism (seminars, 1 credit): seminars respond to the weekly theatre visits during the first seven weeks, encouraging students to develop fresh ways of watching, thinking and writing about theatre in the digital age. Formal written work is a component of the class.
• Analysis (classes, 1 credit): Analysis classes consider the playtext as a product of the political, social and psychological moment of its creation and of the material circumstances of performance, while simultaneously examining dramatic text as a blueprint for contemporary performance. Detailed analysis of one or more scenes from classic plays will be undertaken during the semester and an annotated scene script will be submitted for assessment.

For the final five weeks, each directing student will be attached as assistant director to one of the end-of-term productions and will receive regular feedback and mentorship from the directors throughout the process:

• Assistant Directing for Performance (5 weeks full-time rehearsal, 3 credits): Each directing student will serve as assistant director for one of the end-of-term productions, led by a professional director and creative team. Students will assist with rehearsal planning and organisation, keep detailed notes of rehearsals and run occasional calls for individual actors or small groups in breakout spaces. Throughout the process, students will work towards the creation of a portfolio to include production and rehearsal notes, an annotated script, photographic and video material from rehearsals, visual material sourced for reference and inspiration, and written feedback from the mentor director.

Additionally, the first eight weeks of classes include:

• Weekly theatre trips to see significant productions at major theatres
• Masterclasses and Q&As with leading UK theatre practitioners, including actors, directors and other creative specialists. Recent Masterclass instructors include Brian Cox, Bryan Cranston, Sope Dirisu, Brandon Victor Dixon (MIO ’98), Julian Glover, Henry Goodman, Anna Gunn (LTP ’88), Greg Hicks, Robert Icke, Adam Kantor (MIO ’06), Fiona Shaw, Owen Teale and Deborah Warner.

• Barnard College & Columbia University
• Boston University
• Yale University
• DePaul University
• Howard University
• Marymount Manhattan College
• Middlebury College
• Morehouse College
• Northwestern University
• Pomona College
• Spelman College
• The New School
• University of Pennsylvania
• USC

Actors with UK residence are encouraged to explore our Branch Scholarships for an unparalleled opportunity for students to undertake full-time theatre training for free, perfect as a bridge into studying in a UK or international theatre conservatoire, or as part of a portfolio of training.

For full details, visit the Branch Scholarships page.

Acting applicants will need to prepare two audition pieces in addition to the application forms.

Directing applicants need to prepare the following for their application:

• Personal statement (approximately 500 words): Tell us about your interest in and experience directing, and why you are interested in attending the London Theatre Programme.
• CV detailing your directing experience

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Acting applicants need to prepare the following for their audition:

• Some words about yourself: your name, age, what school you attend; when you began studying acting; how you heard about the London Theatre Programme, and why you are applying.
• A memorised speech by Shakespeare or one of his contemporaries (not a sonnet), in verse, no longer than 2 minutes.
• A memorised speech from a modern or contemporary text, no longer than 2 minutes.

One speech should be delivered in close-up, the other in mid-shot (waist up). Each individual meeting will last no more than 15 minutes and will include a chat with the Dean or a member of the BADA Faculty.

Directing applicants will have an online interview with with the Dean or Directing Tutor; each meeting will last no more than 15 minutes.