You will study three core modules:
Shakespeare and Pedagogy (on-site only)
This module is an opportunity to explore the history, philosophy and pedagogy of ‘teaching Shakespeare.’ You will consider the different elements of Shakespeare’s work that are taught and the methods and resources used to teach them. You will have the chance to prepare practical teaching activities and assess learning outcomes. The Pedagogy module is taught collaboratively by the Royal Shakespeare Company Education department and the Shakespeare Institute over a six-day course at Easter. (Please note: because of the nature of this module it cannot be delivered via distance learning.)
Shakespeare’s Theatre (on-site and distance learning)
There are three components of this module. The first is a close reading of text that will lead to a consideration of the theatrical function and distinctive qualities of Shakespeare's language. The second is a study of Elizabethan and early Jacobean stages and performance; and the third is an extension of the historical perspective, including Shakespeare's medieval inheritance, that will inform inquiry into the contemporary and continuing theatrical life. Plays studied include some or all of Hamlet, The Comedy of Errors, The Taming of the Shrew, Richard II, Titus Andronicus, Henry V, Cymbeline and The Tempest.
Research Skills (on-site and distance learning)
This module will provide you with essential research skills training applicable in the fields of Shakespeare studies, with a particular emphasis on performance studies. You will actively assess the different kinds of evidence and methods used in these fields and critically evaluate the epistemological assumptions that underline them. The work undertaken in this module will help inform the direction and methodology of your research during the MA, particularly in the dissertation stages.
You will then choose three optional modules from a range of Shakespeare Institute modules which typically includes:
History of Shakespeare in Performance (on-site and distance learning)
This module will consider trends of acting and directing Shakespeare from the Restoration to the present day, and will exploit the Stratford archives to undertake studies of individual actors and directors from the eighteenth century onwards. Subjects of study might include Colley Cibber, David Garrick, Henry Irving and Ellen Terry, Laurence Olivier, Peter Brook, John Barton and Sam Mendes. There will be opportunities to analyse and interpret primary evidence and to consider the cultural context(s) of performance. Plays studied include some or all of Richard III, Hamlet, Macbeth, Antony and Cleopatra, and A Midsummer Night's Dream.
Shakespeare and Early Modern Playhouse Culture (on-site and distance learning)
Early modern dramatists typically wrote with particular companies, performance spaces and audiences in mind. This module therefore approaches Shakespeare through the culture of the early modern playhouse. Our central aims will be to ask how the social, cultural, spatial, professional and technological make-up of venues such as the Globe and Blackfriars shaped early modern drama by Shakespeare and others, and to consider the significance of the playhouse to wider early modern culture and society. Using a range of methods drawn from literary criticism, cultural history, theatre history, sensory and affect studies, textual studies and material theatre, we will examine plays in relation to the conditions of playing at outdoor amphitheatres and indoor candlelit venues, always keeping in mind the social dimensions of play-making, involving countless interactions amongst playgoers, actors, musicians and other company members. We will give particular consideration to playhouse sensations, stage technologies, effects and spectacle, audience expectations, actorly skill, company practices, music, documents of performance, and repertory, among other topics. A range of plays by Shakespeare will be studied in direct conjunction with other early modern drama both canonical and less familiar.
Shakespeare's Craftsmanship (on-site and distance learning)
This module is intended to convey, from a variety of standpoints, a sense of how Shakespeare worked. We will explore a selection of plays from across his career in order to highlight the fluidity of his creativity in terms of such elements as language, structure, mood, adaptation of source material, and how they are made to function in innovative ways alongside the more pragmatic considerations of live performance in the early modern theatre. Alongside these historical, textual, and dramaturgical issues we will also consider how such questions of craft may influence performance practice today.
Shakespeare's Legacy (on-site and distance learning)
This module considers the adaptation and appropriation of Shakespeare’s plays, persona, and possessions from 1660 to the present day, paying particular attention to how changes and developments in theatre practice, aesthetic tastes, social concerns, political events, the heritage industry, and commercial markets have shaped the history of Shakespeare’s ‘afterlife’. The module looks at trends broadly chronologically, focusing on particular examples as it traces how the plays (and other Shakespeariana) were received and reinterpreted in light of different artistic, intellectual, and commercial movements from the late seventeenth to early twenty-first centuries. The distinction between ‘adaptations’, ‘appropriations’, ‘translations’, and ‘versions’ will be questioned, and you will be invited to consider the extent to which the different adaptations you read or see rely upon the original Shakespearian text for context and meaning.
Shakespeare's Text (on-site and distance learning)
The module will develop a critical awareness of the textual foundations of Shakespeare's plays. Topics covered include: the relationship between a modern edition of a play and the earliest printed texts, the nature of the printing process that first made the plays available to readers of books, the characteristics of Shakespeare's dramatic composition, the treatment of the text in the theatre (including censorship, revision and adaptation), and Shakespeare as a collaborator. Plays studied include some or all of Hamlet, Troilus and Cressida, Sir Thomas More, Romeo and Juliet, Richard II, King Lear, Measure for Measure, The Merry Wives of Windsor, and Timon of Athens.
Shakespearience (distance learning only)
This module considers the ways in which Shakespearean language and drama bears on experience, with a view to making the experience of Shakespeare more available to contemporary Shakespeare scholarship and creative practice. It is, above all, a shared experiment in experientially alert and susceptible close reading. In a series of intensively collaborative workshops, special course blog and in seminars, it will dwell and linger in Shakespeare’s language and stagecraft in order to explore how its complexity produces experiential meanings, in readers, audience members and in character. “Shakespearience” will be about reading as process rather than product, and as such, at least potentially, experientially exciting and adventurous.
Early Modern Drama: Middleton and Jonson (on-site only)
This module will introduce and contextualise two of the most significant dramatists working in the same period as Shakespeare. Each week you will focus on a pair of plays, usually one by Jonson and one by Middleton. Seminars will focus on student presentations, usually two in each class, each of which will place one of the plays in a broader dramatic and/or cultural context, and/or engage in close analysis of key passages. Special classes will identify the plays as intersections between dramatists and theatre companies, engage with issues relating to dramatic language and technique, and explore issues of textual circulation and canon formation.
History of Shakespeare Criticism (on-site only)
The course will combine a historical overview of the main developments in Shakespeare criticism from the 1590s to the present with detailed investigation of key texts, covering: the canonization of Shakespeare; character criticism; biographical criticism; imagery and symbolist criticism; critical study of the plays as created artifacts; the relationship between criticism and performance; historicist criticism; and new critical approaches. You will read weekly set texts for discussion in seminar, and a weekly lecture will place these texts in their historical context. You are expected to undertake independent reading around the topics after the seminar discussion, guided by topic‐specific reading lists which are circulated each week.
Plays and Poems A (on-site only)
You are encouraged to engage with, and to see the relationship between, the plays and poems Shakespeare wrote in the sixteenth century, in which the dominant genres were comedies and histories, with tragedy an emergent presence towards the end. The module will cover the first half of Shakespeare’s career in chronological order, from 1591 to 1600. Learning is via student presentation and response, with a preliminary lecture on each study day. This module can be studied as a standalone module or with Play and Poems B.
Plays and Poems B (on-site only)
You are encouraged to engage with, and to see the relationship between, the plays and poems Shakespeare wrote in the seventeenth century, in which the dominant genres were tragedies and tragicomedies. The module will cover the second half of Shakespeare’s career in chronological order, from 1601 – 1613. Learning is via student presentation and response, with a preliminary lecture on each study day. (Plays and Poems A is the pre‐requisite module for Plays and Poems B.)
Shakespeare and Theatre Practice (on-site only)
This module will provide you with experiential knowledge that will inform the way you interrogate and interpret performance evidence in a variety of media. Through a series of practical workshops and performance assignments, you will explore different systematic approaches to performing the language of Shakespeare: the first approach is rooted in the verse and text work of John Barton, Peter Hall, and Giles Block; the second approach explores the legacy of Stanislavski in the Shakespearean work of 20th/21st century practitioners in Europe and the United States; the third approach brings the devising techniques of prominent physical theatre practitioners to a creative examination of Shakespeare’s text.
This module is assessed either by two performance assignments and a 2,000-word research paper, or by one 4,000-word research paper. (Please note: because of the nature of this module it cannot be delivered via distance learning.)
You will complete the programme with a dissertation:
Dissertation (on-site and distance learning)
The dissertation is an opportunity for you to extend ideas encountered in the 'Shakespeare and Pedagogy' module. Thus the dissertation will have a primary focus on methods, materials, or the philosophy/sociology/history of 'teaching Shakespeare'. It is possible, therefore, that a student (particularly if a practising teacher or lecturer) may be undertaking a practical project and the dissertation will be a report and assessment of the project. There should be some element of originality in the research and the research may make a contribution to the field of study. You will report the research in a dissertation of 15,000 words in appropriate academic English. In designing, carrying out and writing up the study, you will be supported by a supervisor.
Please note that the optional module information listed on the website for this programme is intended to be indicative, and the availability of optional modules may vary from year to year. Where a module is no longer available we will let you know as soon as we can and help you to make other choices.