You will have the opportunity to look at different productions and adaptations of Shakespeare’s plays in their historical, political, and cultural contexts and to think about the performance choices actors and directors make when approaching Shakespeare’s texts. You can also study how the textual history of Shakespeare’s plays influences performance today. You can study on campus (full-time or part-time) or by distance learning (part-time only).
You will study two core modules:
You will also choose four optional modules (see module information below). Each module is assessed by one 4,000-word essay with the exception of: Research Skills which is assessed by 2–3 shorter assignments; and Shakespeare and Theatre Practice which is assessed by either two performance assignments and a 2,000-word research paper, or by one 4,000-word research paper. While completing all six taught modules will lead to a Diploma-level qualification, MA students will also complete a 15,000-word dissertation.
The flexible structure of this course allows study in a wide variety of ways, on a full- or part-time basis. Modules are available to study through a variety of routes that may include:
Full-time study is on site in Stratford-upon-Avon and part-time students can choose to study the whole programme either on site, via online distance learning or a combination of the two. You are also encouraged to visit the theatre and cinema to benefit from the excitement of Shakespeare's plays in performance.
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.
This module provides 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.
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.
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.
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 ofHamlet, 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.
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.
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.
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.)
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 canonisation 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. Students will read weekly set texts for discussion in seminar, and a weekly lecture will place these texts in their historical context. You will be expected to undertake independent reading around the topics after the seminar discussion, guided by topic-specific reading lists which are circulated each week.
Students 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.
Students 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.)
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.
You can choose to do this programme part-time or full-time.Full-time
You only need to take one of these language tests:
Minimum required score:
The IELTS – or the International English Language Test System – tests your English-language abilities (writing, listening, speaking, and reading) on a scale of 1.00–9.00. The minimum IELTS score requirement refers to which Overall Band Score you received, which is your combined average score. Read more about IELTS.Take IELTS test
StudyPortals Tip: The UK government has confirmed new English-language testing requirements for visa and immigration purposes. Learn more
Minimum required score:
The TOEFL – or Test Of English as a Foreign Language – offers an internet-based test (iBT). The final, overall iBT score ranges between 0 and 120, and includes a scaled average from the four components (reading, listening, speaking, and writing). Read more about TOEFL (iBT).
You can satisfy our English language requirements in two ways:
This is an online programme. You can attend from the comfort of your chair! So you don't need a student visa! (Unless that chair you're sitting on is in a foreign country...)
StudyPortals Tip: Students can search online for independent or external scholarships that can help fund their studies. Check the scholarships to see whether you are eligible to apply. Many scholarships are either merit-based or needs-based.
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