1
Annex (A)
Number of peer reviewed outputs published that relate to CETL work
Bate, J. and S. Brock. ‘Teaching Shakespeare (and More) through a Collaboration between a University and an Arts Organization’, Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture7.3 (2007): 341-358;
Warwick
Campbell, R. J., W. Robinson, J. Neelands, R. Hewston and L. Mazzoli. ‘Personalised Learning: Ambiguities in Theory and Practice’. British Journal of Educational Studies 55.2 (2007): 135-154;
Monk, N. et al. Open Space learning: A Study of Interdisciplinary Pedagogy (London: Bloomsbury Academic, forthcoming);
Monk, N. and J. Heron, ‘Staging the Witches’. Shakespeare Forum: Page, Stage Engage, New YorkUniversity, April 2008;
Neelands, Jonothan. ‘Acting Together: Ensemble as a Democratic Process in Arts and Life’, Research in Drama Education14:2 (2009): 173-189;
-- ‘The Art of Togetherness: Reflections on Some Essential Artistic and Pedagogic Qualities of Drama Curricula’.NJ Drama Australia Journal 33.1 (2009): 9-18;
--, N. Monk, J. Heron. ‘The Dramatised University: The Uses and Values of Applied Performance and Rehearsal Room Approaches across the HE Curriculum’. IUTA (International University Theatre Association) 8th World Congress. De Montfort University, June 2010;
--‘Getting off the Subject: English Drama Media and the Commonwealth of Culture’. Imagination, Innovation, Creativity: Re-visioning English Education. Ed. J. Manuel, P. Brock, D. Carter, W Sawyer. Sydney: Phoenix Education, 2009;
--‘Taming the Political: The Struggle over Recognition in the Politics of Applied Theatre’. Research in Drama Education 12.3 (2007): 305-317;
-- and J. Watanabe. Using Drama as a Medium of Instruction. Tokyo: Bansei Shobo Publications, 2009;
Rutter, Carol. ‘Playing Hercules; Or, Labouring in My Vocation’, Teaching Shakespeare: Passing It On. Ed. G.B. Shand. Oxford, Blackwell, 2009. pp. 217-231;
--, J. Heron and T. Cornford ‘Object/Archive/Script: Practice-based Research in the Teaching of Shakespeare’. Renaissance Society of America Conference, Venice, April 2010
Up to 5 other outputs that have not been peer reviewed:
Blegvad, Peter. Imagine, Observe, Remember, Part 1 of The Psychonaut’s Friend, A Handbook for Mental Travellers. Coventry: WarwickUniversity, 2009;
Howard, T. ‘A Slave’s Son at Stratford: Paul Robeson 1898-1976’. Touring Exhibition exhibiting at Warwick Arts Centre; Northern Stage Newcastle-upon-Tyne; Liverpool Playhouse; Shakespeare’s Globe London, 2009-2010;
Irish, Tracy, Classroom Research: Findings from Action Research Projects Carried out by Teachers during 2006/7 to Assess the Effectiveness of Theatre-based Approaches to Teaching Shakespeare in the English/Literacy Classroom. 2008. Accessed 03/03/2010;
Morley, David. ed. Dove Release: New Flights and Voices. (Tonbridge, Kent: Worple Press, 2010);
RePerforming Performance website
Accessed 03/03/2010
Appendix 1: Works Cited
Black, P., Harrison, C., Lee, C., Marshall, B., & Wiliam, D. ‘Working Inside the Black Box: Assessment for Learning in the Classroom’. Phi Delta Kappan 86.1 (2004): 8–21;
Bruner, Jerome. Actual Minds, Possible Worlds. CambridgeMA: HarvardUniversity
Press, 1986;
----- The Process of Education. CambridgeMA: HarvardUniversity Press, 1978;
Beckett, Samuel. Worstward Ho!London: Grove Press, 1983;
Boyd Michael. The Stage, April 2, 2009. 10-11;
Clark, Andy. Being There: Putting Brain, Body and World Together Again. MIT
Press: Cambridge (MA), 1996;
Damasio, Antonio. The Feeling of What Happens: Body and Emotion in the Making of
Consciousness. New York: Barnes and Noble, 2000;
Department for Business, Innovation and Skills. Higher Ambitions: The Future of Universities in the Knowledge Economy (Executive Summary). November 2009. Summary.pdf Accessed 28/01/2010;
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans A. M. Sheridan-Smith. Harmondsworth: Penguin, 1977;
Freire, Paulo, and Ira Shor. A Pedagogy of Liberation: Dialogues on Transforming
Education. New York: Bergin and Garvey, 1987;
Gardner, Howard. Frames of Mind: The Theory of Multiple Intelligences. New York:
Basic, 1985;
Jackson, Norman, M. Oliver, M. Shaw, and J. Wisdom, eds. Developing Creativity in
Higher Education: An Imaginative Curriculum. Routledge: London, 2006;
Kolb, David. A. ExperientialLearning: Experience as the Source of Learning and
Development. Englewood Cliffs, NJ: Prentice Hall, 1984;
Lambert, Catherine. ‘Exploring New Learning and Teaching Spaces.’ Warwick
Interactions Journal 30.2 (2007): 1-6;
Lefebvre, Henri. The Production of Space. Trans. Donald Nicholson-Smith. Oxford:
Blackwell, 1991;
Newmann, Fred, and Associates. Authentic Achievement. San Francisco: Jossey-Bass, 1996;
Thew, Neil. Teaching Shakespeare: A Survey of the Undergraduate Level in Higher Education. Report for The Higher EducationAcademy. 2006;
Vygotsky, Lev. Mind in Society. Cambridge, MA: MIT Press, 1978.
Appendix 2: Two-Year objectives (to July 2007)
1.1 Offer the workshop model of learning to students in selected modules in all departments across the Faculty of Arts
Partly Achieved: Modules in the Department of English, open to students taking joint courses with English (STPCPS, French, English, Philosophy and Literature, Film and Literature, Italian, Creative Writing): ‘European Theatre’ and ‘Shakespeare from Page to Stage to Page’
1.2 Add a hands-on workshop strand as core component of 3rd year Shakespeare course (220+ FTEs)
Achieved:All students offered at least one practical workshop instead of a seminar; from 2008 ‘Shakespeare without Chairs’ offered as an alternative to traditional seminars; from 2009 students offered practical, traditional and hybrid forms of seminar. (Approximately 200 FTEs annually.)
1.3 Create new interdisciplinary workshop-based module available across the disciplines in the Faculty of Arts
Achieved: The Faust module, available across the University from 2009.
1.4 Develop new online teaching materials and methods within the School of Theatre Studies and Department of English
Achieved: Histories of the performance by the RSC of 36 Shakespeare plays have been prepared which contribute to the RSC Shakespeare individual play editions
1.5 Substantial student contribution to RSC’s Complete Works Festival
Achieved:Production of Lope de Vega’s Capulets and Montagues involving a team of 22 students was performed at the Dell in Stratford-upon-Avon and in London at the GBS Studio at RADA, 2006.
1.6 Begin new pedagogic research on the model of the rehearsal room experience with English Subject Centre and Palatine; organising one major conference and a series of seminars
Achieved:
a.With English Subject Centre co-organised a conference on Teaching Shakespeare, Straford-upon-Avon, September 2006; contributed a panel at Renewals Conference, July 2007
b.Establishment of Space, Performance and Pedagogy group at Warwick which meets termly.
1.7 Take the workshop roadshow to a minimum of 4, maximum of 8 other HE institutions
Achieved:
a.Roadshow at Newcastle-upon-Tyne November 2006 during RSC residency consisting of staff seminar; platform events for students; student practical workshop for 5 HEIs: Sunderland, Teeside, Northumberland, York St John; NewcastleUniversity plus NewcastleCollege.
b.A three-day development project in June 2007 involving four members of staff from Warwick and two from RSC Learning refined the workshop model for further dissemination and a revised strategy was formulated for 2008-2010.
1.8 Give 2-6 staff members opportunity of holding Warwick/RSC Chair of Creativity. (Changed to Fellowship in Creativity and Performance to avoid terms and conditions issues arising from professorial title but with same salary and opened to external candidates to encourage wider creative relationships for Warwick staff and students)
Achieved:Three fellowships: Paul Allen October to March 06/7; Patrice Naiambana (RSC) April/May 07; Djanet Sears (RSC) June-July and October 2007. Notice required for candidates in employment to organise leave resulted in slow take up.
1.9 Appoint Warwick\RSC International Playwright in Residence
Achieved:Adriano Shaplin appointed June 2006-2008. Contributed to MA module ‘The Practice of Writing’ for Warwick Writing Programme; 2nd year module in Theatre Studies: ‘Writing for Performance’; module in Law: ‘Origins, Images and Cultures of English Law’. Led a 3-week special project on his work in progress (Tragedy of Thomas Hobbes) and The Apprentice for Artists, a 10-week workshop series; offered individual sessions for student writers.
1.10 Give graduate students the opportunity to be involved with RSC research development, particularly in relation to the RSC Shakespeare Complete Works edition
Partly Achieved:A PhD student in the Department of English was appointed Chief Associate Editor of the edition.
1.11 Contribute staff expertise to the RSC Artists Development programme
Achieved: Regular lunchtime talks at the RSC for all RSC staff; special expert seminars for rehearsing companies; a postgraduate award for RSC actors in the Teaching of Shakespeare offered by the Institute of Education
Contribute to NAGTY and Warwick Arts Centre. (NAGTY reconstituted and left Warwick. IGGY set up in its place)
Partly Achieved:The Director of the Arts Centre is a member of the CAPITAL Advisory Board. Rehearsal space at the CAPITAL Centre’s new accommodation offered to companies visiting the Arts Centre from 2007.
1.12 Play a major role in the establishment of the RSC Learning Network to include a programme of student placements. (Student placements were not appropriate for the sort of work required)
Achieved: CAPITAL funding supports the postgraduate training of English and Drama teachers from RSC Learning and Performance Network schools. Student placements have worked well in other areas of the RSC, primarily providing language support for visiting companies during the Complete Works Festival
1.13 Developed a strategy for collaboration with local partners
Achieved:Collaborative events with Shakespeare Birthplace Trust (Great Shakespeare Debate 2007) and the Shakespeare Institute (co-hosting the Teaching Shakespeare conference 2006 and the 3rd British Shakespeare Association conference 2007). CAPITAL has brokered the University’s strategic collaboration with the Shakespeare Birthplace Trust
1.14 Submitted at least one major research grant to the AHRC
Achieved: Submitted Becoming the RSC: An Oral History Project in September 2006. Unsuccessful (N).
Appendix 3: Five-Year objectives
2.1Offer the ‘workshop model’ in all departments throughout the University.
Partly achieved: CAPITAL works with 11 departments out of 30, and across all four faculties. See also 3.1.
2.2Introduce ‘hands-on’ workshop strands as core components in other appropriate
modules in the Department of English and elsewhere in the Faculty of Arts – target 500
FTEs.
Achieved and extended beyond the Faculty of Arts.
a. 688 FTEs 2009/10. See 4.1 and 4.3.
b. The post of Artist in Residence was trialled for 2 years to support delivery, but the
best results have been achieved by CAPITAL’s staff collaborating directly with
course/module leaders.
2.3 Deliver a new inter-disciplinary workshop-based module, available across the Faculty
of Arts.
Achieved:
.
- The Faust Project (see Glossary) devised by CAPITAL’s Lecturer: open to allsecond-year students across the University, regardless of degree subject, was introduced in 2009/10 with support from the Reinvention Centre
- ‘Shakespeare and the Law’ devised by CAPITAL’s Director with a colleague from the School of Law. Open to third-year students in Law and English.
- Deliver and disseminate new online teaching materials and methods in Theatre
Studies and English, and made relevant materials and methods available to other
departments internally and other institutions externally.
Achieved:
a. Re-Performing Performance project (see also 10.2).
b. Will@Warwick podcasts 2007-8
c. founder contributions to Warwick programmes on iTunes U since 2009 and support for the creation of the University’s Digital Press through a Fellowship in Creativity and Performance
d. Publications: See Annex A.
2.5Deliver a student contribution to the Shakespeare Complete Works Festival, reviewed
its pedagogic as well as theatrical success, and inaugurate a structure for biennial student festivals in Stratford.
Achieved:
a. CAPITAL’s production of Lope de Vega’s Capulets and Montagues ran alongside the RSC’s Romeo and Juliet in 2006 as part of the Complete Works Fringe Festival
b. Since 2007 theRSC’s outdoor theatre space at The Dell, in Stratford-upon-Avon has been dedicated to student and amateur Shakespeare.
c. CAPITAL’s Company in Residence (see 12.2 below) was established in 2008 and each year supports a Festival of New Work at Warwick and a full student production of a selected text
d. CAPITAL supports up to two student performance projects each term, based on work in the curriculum and producing learning materials.
e. CAPITAL provides modest funding towards the costs of Warwick student productions selected for the National Student Drama Festival and the Edinburgh Fringe Festival.
2.6 In collaboration with the English and Performing Arts Subject Centres disseminate
pedagogic research via journal, web site and print publication, with a major international conference in Year 5 showcasing the work of the Centre.
Achieved:In the spirit of its founding paradigm of discovery through the creative process
CAPITAL has focussed on discipline-specific work rather than the dissemination of pedagogical theory.
a. See Annex A for publications.
b. Creativity in Teaching and Learning Colloquium, September 2009 (see
1.3.b
c. International dissemination has been effected through interventions in subject
areas including conferences organised by CAPITAL: Beckett and the Brain; 3rd International Shakespeare and Performance Colloquium; Beyond the Lyric; 4th International Cormac McCarthy Conference.
2.7Take the workshop roadshow to a further 12-18 other HEIs and undertake pilot projects for its delivery to other groups, including business leaders and headteachers. Collaborate with other parties, including the University’s new Leadership Institute.
Achieved:
a. The roadshow model, trialled in Newcastle in 2006, was not considered effective and was replaced by a programme of conference presentations and events based on the Warwick campus (see 1.3.a for details).The RSC’s education policy was revised in 2008 to focus on the 5-19 age group and this dissemination was no longer relevant to their strategy;
b. CAPITAL staff will have presented at 14 conferences by July 2010 reaching
representatives of 40 HE institutions (see 1.3.b).
c. CAPITAL has worked with Warwick Business School Professional Programmes to
develop work with external companies using professional practitioners, and with the
Institute of Clinical Education using enactive methods in the training of GPs. See
d. RSC Learning and Performance Network has been the primary means of
dissemination to schools (4.2 for details).
2.8 Give a further 3-9 staff members of holding the Warwick/RSC Chair (now Fellowship) in
Creativity and Performance, and make available CPD opportunities for RSC Education
staff.
Achieved:
a. The roles of Artist in Residence and Researcher in Residence were created to involve RSCstaff beyond Education.
b. There have been 17 Fellows appointed in total to the end of March 2010: 7 from Warwick; 6 from the RSC, 4 external.
c. Outputs include: Passing On (ethnodrama project); Imagine, Observe, Remember (devised performance piece and book); A Slave’s Son at Stratford: Paul Robeson (exhibition and public events); Designing the Image (design project); a proposal for an MA in Acting Shakespeare; RSC production of Othello.
2.9 Promote the performance of new work by the first RSC\Warwick International
Playwright in Residence (RWIPiR) and appointed the second holder to create a further new piece of work and be available to Warwick Writing Programme students.
Achieved:
- Adriano Shaplin’s (RWIPiR 2007-8) The Tragedy of Thomas Hobbes premiered by the RSC at Wilton’s Music Hall in autumn 2008. The production played for 25 performances to 96% capacity audiences (5526 people). RWIPR led a term-long workshop for students, ‘The Apprentice for Artists’, exploring alternative media for writers.
- Tarell McCraney (RWIPiR 2008-10)has directed the RSC’s Young Person’s Hamlet which toured to 10 London primary and secondary schools and will open in Stratford-upon-Avon in May 2010. He led a one-week workshop, ReCreating in Play, and weekly Play/Read Club in Spring 2010, as well as offering individual support to student writers.
2.10 Give graduate students the opportunity to be involved with RSC research
development, particularly in relation to online educational resources.
Achieved:
- An application has been made by RSC and Institute of Education to the AHRC for a collaborative PhD to assess the role of cultural organisations in education.
- Two digital media interns were appointed in 2009/10 to create digital content around the Young Person’s Hamlet and Antony and Cleopatra.
- Warwick PhD students have worked as project manager for Professional Development in the RSC Education Department and RSC Research Fellow contributing to the RSC Shakespeare Complete Works.
2.11 Contribute further to the on-going development of NAGTY and the work of Warwick
Arts Centre (WAC).
Achieved:NAGTY was replaced by the International Gateway for Gifted Youth (IGGY) in 2008.
- Contributed a course to IGGY on Performance and Myth in Summer 2009, as part of CAPITAL’s widening participation work.
- During refurbishment of the Arts Centre, rehearsal space at the CAPITAL Centre offered to visiting companies,e.g. the RSCOthello company in 2009
- A masterclass series using artists appearing at WAC was arranged in 2008. In 2009 CAPITAL coordinated and contributed to public events relating to the RSC’s Othello.
2.12 Contribute further staff expertise to the RSC Artists’ Development programme and
develop a programme of public masterclasses.
Partly achieved: The reorganisation of RSC’s Events and Exhibitions Department in 2008 has focussed on interactive events rather than masterclasses.
Warwick ‘s Postgraduate Award for RSC Actors is now in its third year. It has attracted external funding from the Paul Hamlyn Foundation going forward to 2011;one of the graduates from this programme has recently been appointed as a Fellow in Creativity. 25% of the company opening the new Royal Shakespeare Theatre in 2010 will hold this award.
2.13 Sustain major role in the delivery of the RSC Learning Network in secondary schools
throughout the country, foster and contribute to its offshoots, particularly in the area of student production and extend network into HE and Lifelong Learning to include a programme of student placements
Partly Achieved: The RSC’s Education policy was revised in 2008 to focus on the 5-19 age group. Responsibility for informal provision for HE and Life-long Learning at the RSC now rests with Events and Exhibitions.
a. See 4.2 below: Learning and Performance Network
b. The RSC’s programme of student placements for over-18s has been formalised in almost every department across the company
2.14. Deliver agreed teaching and learning opportunities via local partners, Shakespeare
Birthplace Trust (SBT), Shakespeare Institute and De Montfort University.
Partly achieved:De Montfort’s Centre for Excellence in PerformanceArts promotes the synthesis of creative practice and evaluative reflection in the teaching of performance-based students. Warwick’s School of Theatre, Performance and Cultural Policy Studies is now practice-based and offers similar resources on campus.