University of Birmingham

Master in Shakespeare and Creativity - Máster en Shakespeare y la Creatividad

University of Birmingham
  • Imparte:
  • Modalidad:
    Presencial en Birmingham
  • Precio:
    We charge an annual tuition fee.
    Fees for 2016/17 are as follows:
    Home / EU: £6,840 full-time
    Overseas: £14,850 full-time
  • Comienzo:
    Septiembre 2017
  • Lugar:
    Birmingham B15 2TT
    Reino Unido
  • Duración:
    1 Año
  • Idioma:
    El Curso se imparte en Inglés
  • Titulación:
    MA Shakespeare and Creativity


This programme offers a unique approach to the study of Shakespeare’s life and work, fusing traditional scholarly approaches with the thrill of being involved in new creative work.

It makes the most of the unrivalled resources of Shakespeare’s Stratford and involves expert tuition from the Shakespeare Birthplace Trust and the new Library of Birmingham. The programme is particularly enhanced by the Institute´s new collaboration with the Royal Shakespeare Company (RSC), offering unique and extensive opportunities to work on its premises with RSC artists.

This programme will attract aspiring academics, actors, writers, directors, arts administrators, as well as anyone with a lively interest in Shakespeare.


We ask that you supply evidence of either:

A bachelors degree (2:1) in a relevant field

Relevant professional experience. This should be demonstrated in a portfolio which catalogues and contextualises your work in a relevant field (e.g. catalogue of a recent art installation, actor’s CV, transcript giving indication of professional training, web-based archive of recent work, folio of published poems, etc)
In addition to the usual supporting documents, all applications must also be supported by:

Two letters of recommendation
A statement of purpose which indicates your creative potential, either proposing specific creative projects you intend to pursue on the MA or reflecting on your existing creative work. In particular, the statement should address the following research questions:
What were/are the objectives of the piece, and why? What obstacles did you/might you encounter? How might these have been/be avoided?
To what tradition does this piece belong? To what critical conversations or bodies of practice does it contribute? What does it contribute to them?
What are its implications for future work? What does/might your work initiate in the field of Shakespeare studies more generally?
A sample of written work on Shakespeare of around 2,000 words. If you do not have an existing piece of writing to submit, please take a short passage of up to 60 lines from any Shakespeare play and write an essay of around 2,000 words which discusses the performance possibilities of this extract and how it contributes to the play as a whole.

International students

Academic requirements
We accept a range of qualifications

English language requirements

You can satisfy our English language requirements in two ways:

by holding an English language qualification to the right level
by taking and successfully completing one of our English courses for international students


You will study the following four core modules:


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. “Shakespearience” will be about reading as process rather than product, and as such, at least potentially, experientially exciting and adventurous.

Shakespeare and Theatre Practice (formerly Shakespeare and Creative Practice)

This module will provide you with experiential knowledge that will inform the way that you interrogate and interpret performance evidence in a variety of media. Through a series of workshops and performance assignments, you will explore three 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, Cicely Berry and Patsy Rodenberg; the second approach explores the legacy of Stanislavski in the Shakespearean work of 20th/21st century practitioners including Katie Mitchell and Mike Alfreds; the third approach brings the devising techniques of prominent physical theatre practitioners to a creative examination of Shakespeare’s text.

The Shakespeare Ensemble

In this module you will work as part of an ensemble of creative artists – actors, directors, writers, designers – exploring and testing the theory and practice of performing Shakespeare today. You will participate in workshops with key RSC practitioners and produce an assessed performance of a re-imagined Shakespearean text in The Other Place theatre. The module seeks to equip you with a range of skills pertaining to creating a new piece of work - creative dramatic writing, devising as an ensemble and music in the ensemble as well as including sessions with the RSC on new writing, the ensemble, design and lighting.

View ´Delectable Sin´ - a song composed for 2014/15 Shakespeare and Creativity students, inspired by their response to Othello as part of this module
Shakespeare and Society

Featuring tuition from the Shakespeare Birthplace Trust, the Royal Shakespeare Company and the new Birmingham Library (which has an important Shakespeare collection), this module explores and tests the scope for bringing Shakespeare into the world beyond the academy and the theatre. You will undertake focused study of Shakespearean civic creativity from Garrick´s 1769 Jubilee onwards before producing your own piece of civic creativity inspired by Shakespeare at the RSC.

View Shakespeare Unbard – a film of work developed for performance at the Royal Shakespeare Company produced by Shakespeare and Creativity students in 2013 as part of this module.
You will also choose two optional modules from the following:

History of Shakespeare in Performance

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’s Legacy

This module considers the adaptation and appropriation of Shakespeare’s plays, persona, and possessions from the seventeenth century to the present day. It pays special attention to how changes in theatre practice, aesthetic tastes, politics, and commercial markets have shaped the history of Shakespeare’s ‘afterlife’. Plays studied include some or all of King Lear, The Tempest, Macbeth, The Merchant of Venice, Othello, Hamlet, Romeo and Juliet and Measure for Measure.

Shakespeare’s Craftsmanship

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 Text

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.

Salidas profesionales

Your degree will provide excellent preparation for employment and this will be further enhanced by the employability skills training offered through the College of Arts and Law Graduate School. The University also offers a wide range of activities and services to give our students the edge in the job market, including: career planning designed to meet the needs of postgraduates; opportunities to meet employers face-to-face at on-campus recruitment fairs, employer presentations and skills workshops; individual guidance on your job applications, writing your CV and improving your interview technique; and access to comprehensive listings of hundreds of graduate jobs and work experience opportunities.

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