Issue 10 | March 2006

A huge amount of talent is fostered by UK theatre and dance schools. Many of these offer three-year honours degree courses which are accredited by local universities and include varying amounts of academic work as well as performance training. Most schools also offer foundation courses, two-year diplomas and in some cases summer schools, which may be of particular interest to international students looking for a taster of British theatre and dance.

At further education level, it’s possible to combine all the elements of theatre in the two-year BTEC National Diploma in Performing Arts, specialising to some degree in a chosen discipline. At higher education level, however, specialisation is the norm. The aim is to turn out professional practitioners – people who will actually work as actors, dancers and technicians ‘in the business’. Students have frequent opportunities to work with outside directors and choreographers, who take classes and produce shows. Postgraduate courses enable even greater specialisation.

Dancers wishing to train predominantly in classical dance would look at a school such as London’s Central School of Ballet, where ballet is the core with additional training in contemporary and jazz dance, choreography, drama, music and singing. LABAN, also in London, focuses on contemporary dance where choreography is considered as important as performance. Matthew Bourne, who devised the hugely successful all-male Swan Lake, is among their more famous alumni.

‘A typical day starts at 8.45 a.m. but you’re expected to be there at least half an hour before to warm up, which can be done in the gym or by yourself in the studio’

Rigorous training Dance training is rigorous. Anna Melander, a UK student from Stockholm, is studying at the Northern School of Contemporary Dance (NSCD) in Leeds. She explains: ‘The course has been very hard and the technique training arduous. A typical day starts at 8.45 a.m. but you’re expected to be there at least half an hour before to warm up, which can be done in the gym or by yourself in the studio. After the first class you have a 15-minute break, then you’re off again at 10.30 a.m. for another practical class. In the afternoon you have classes such as history of dance, choreography, etc. Then there are rehearsals and performances on top.’ But she feels that the quality of the course is worth the hard work: ‘You have to remind yourself why you’ve chosen to study at NSCD,’ she says. Everyone is here to learn to dance. The teachers are all ex-professional dancers (and some are still dancing) and they have loads of experience and knowledge.’

Theatre courses for the budding actor or director are no less intense. The study and performance of Shakespeare underpins all training. It’s used as a vehicle for voice work, text study and even movement, and it’s probably because of the richness of this classical tradition that British actors are so successful. Students also study contemporary texts, how to improvise and devise plays, television and radio skills, and unarmed and armed combat – very handy if you’re cast in a swashbuckler movie.

Breezeblock Park at the Albany Theatre
Courtesy of Mountview, photographer: Gemma Mount

Tradition and experiment Different theatre schools have different focuses. Some, such as RADA, Mountview, LAMDA, Rose Bruford and the Bristol Old Vic Theatre School, have a traditional approach rooted in classical training. Others, such as Dartington College in Devon, focus on developing original, independent theatre makers, producing physically-based ensemble work rooted in experimental, contemporary theatre. Some, such as Manchester University’s Drama Department, take a more academic approach, focusing on research into performance, applied theatre and screen studies.

Liverpool’s Institute for Performing Arts (LIPA), founded by ex-Beatle Sir Paul McCartney, has yet another flavour. Like many schools based in inner cities, it has a sharp awareness of the realities of life and is intent on producing graduates who are both creative and grounded, capable of working in the performing arts for the rest of their lives.

There are, of course, some performers for whom being grounded is anathema: the high-flyers of the world. Literally. The Circus Space in London is one of only three schools in Europe which teaches circus skills at degree level. Encouraging artistic exploration and creativity, the school itself is open to the creation of new skill types or disciplines, should a student invent them.

Disguised airfields Of course, dancers, actors and even circus performers require a stage to work on. And this is where the great British theatre technician comes in. Renowned for their adaptability and originality, technicians in the Second World War used plywood and painted canvas to disguise airfields to look like virgin countryside, dressed up tanks to look like innocuous lorries and even built a fake harbour, complete with dummy lighthouse. No wonder the James Bond movies are almost always made in the UK!

All leading theatre schools have training courses for technicians. Specialising in stage management, lighting, set design, construction, costume and so on, they are able to test and develop their skills by working on the actors’ productions. They, too, will work with leading practitioners at the school and at other theatres.

Entry for BA (Hons) courses is usually through UCAS, but some schools also have their own application forms, which must be completed, while others accept direct applications only. Entry requirements are usually A-levels including drama and/or English, or a BTEC National Diploma, plus an audition and interview. However, some schools take a creative approach, so even if the qualifications are not quite met, they will still consider a student who shows sufficient talent and an ability to work at higher education level.

All leading theatre schools have training courses specialising in stage management, lighting, set design, construction, costume and so on

Auditions Dancing auditions typically consist first of class work at the barre, a short solo and an improvisation class. Those who pass stage one may have further dance work, plus an interview and possibly a meeting with the physical support tutor. Acting auditions usually consist of two three-minute monologues, one classical (such as Shakespeare) and one contrasting modern piece, followed by an interview and possibly workshops. There is usually an audition fee.

Some schools conduct auditions overseas and RADA, for example, auditions in New York every March, so do enquire about this. Acting students are expected to be highly proficient in English – some schools provide additional classes or offer foundation theatre courses or summer schools to help students qualify.

If you are thinking of working in the UK after your training, then you may want to check out what provision the school has for 'showcasing' to agents and casting directors. Leading London theatre and dance schools provide this, while Bristol Old Vic Theatre School invites agents to Bristol and also has a showcase at a West End theatre. If you will be returning to your own country after the course, then your choice can be more focused. For example, Linda Reiner from Frankfurt, Germany, who is studying Theatre Design, chose the Royal Welsh College of Music and Drama 'because of its renowned international reputation. Cardiff is a happening, exciting and young city, due to the large number of students who study here.'

Whatever your decision, you can be certain that training in the UK will equip you with all the skills you need to succeed as a practitioner in the performing arts. As Anna Melander explains: 'After three years of hard but stimulating training, I will finally be a professional dancer. Now all I have to decide is where to move next.