1. This Report presents the findings of an assessment in April 1998 of the quality of education in theatre studies provided by the University of Ulster.
2. Ulster Polytechnic and the New University of Ulster (founded in 1968) merged in 1984 to form the University of Ulster. There are four main campuses - Belfast, Coleraine, Jordanstown and Magee College - and nearly 16,000 full-time equivalent students. Drama is taught by the Theatre Studies Subject Group within the School of Media and Performing Arts.
3. There are 53 full-time students on the degree programmes centred at Coleraine and 11 part-time students on the certificate course which takes place one evening a week at the Magee College campus in Derry, some 35 miles distant. The Subject Group comprises 5.5 academic staff and one technician. A visiting professor assists with teaching and research supervision.
4. The following provision forms the basis of the assessment:
* BA (Hons) Theatre Studies
* Theatre Studies as a Major, Joint or Minor subject within BA (Hons) Humanities
* Certificate in Community Drama.
5. The statistical data in this Introduction are provided by the institution itself. The aims and the objectives are presented overleaf. These also are provided by the institution.
The Theatre Studies subject group aims to address the need for education and training reflecting the special circumstances of Northern Ireland and the requirements and opportunities that confront the graduate in the exercise of both academic and professionally-related skills beyond the University, in Northern Ireland and generally elsewhere.
The group is conscious of the role to be played by Theatre Studies in opening access to higher education to variously qualified and experienced persons, by responding to their interest, motivation and experience, and by fostering in them skills and understanding which relate to and are embedded in theatrical and other practices.
Presentation of the discipline stresses the nature of the medium studied as a vehicle for intellectual and affective learning and growth within particular social and cultural contexts, and within the experience of the individual. Education and training aims to ground thinking in analytical and experiential approaches adapted to modular study and permitting transfer and development in academic and professional contexts.
The group propose specific aims
* Promotion of the discipline through the experience of its inherent methods and through an analysis of their intellectual, affective and social functions
* Awareness of the characteristic experience of drama and theatre in relationship to other performance media and to literary, scientific and philosophical creation and enquiry
* Secure intellectual and academic method and independent enquiry, self-confidence and personal development through study of the discipline and the application of its methods
* Identification of the subject with related disciplines and the promotion of links with outside agencies and practitioners in the field of theatre and applied drama
* Sustainable teaching structures reflecting the opportunities for research, further training and employment in key applications of drama locally and nationally
* Progressive integration of the discipline within the professional, cultural and social life of Northern Ireland.
The group identifies particular objectives in student learning
* Mobilisation of the intellectual and creative competence of the individual as part of a process of self-development
* Direct involvement in the structures of thinking and experience characteristic of drama and the ability to interrogate experience as part of a disciplined enquiry into the nature, functions and traditions of the medium
* Successful accomplishment, individually and collectively, of performance and professional projects, integrating intellectual and practical competence within relevant chosen academic, physical and social environments
* The acquisition and monitoring of individual competence in techniques of written and oral communication, information technology and theatrical and dramatic practice
* The achievement of independence, self- discipline, creativity and transferable skills relevant to careers in research, performance and the workplace.
The aims and objectives identified above will be achieved to a degree proportionate to the level and extent of study of the subject.
6. The graded profile in paragraph 7 indicates the
extent to which the student learning experience and
achievement demonstrate that the aims and objectives
set by the subject provider are being met. The tests
and the criteria applied by the reviewers are these:
Aspects of provision
1. Curriculum Design, Content and Organisation
2. Teaching, Learning and Assessment
3. Student Progression and Achievement
4. Student Support and Guidance
5. Learning Resources
6. Quality Management and Enhancement.
Tests to be applied
To what extent do the student learning experience and
student achievement, within this aspect of provision,
contribute to meeting the objectives set by the subject
provider?
Do the objectives set, and the level of attainment of
those objectives, allow the aims set by the subject
provider to be met?
Scale points
1 The aims and/or objectives set by the subject provider are not met; there are major shortcomings that must be rectified.
2 This aspect makes an acceptable contribution to the attainment of the stated objectives, but significant improvement could be made. The aims set by the subject provider are broadly met.
3 This aspect makes a substantial contribution to the attainment of the stated objectives; however, there is scope for improvement. The aims set by the subject provider are substantially met.
4 This aspect makes a full contribution to the attainment of the stated objectives. The aims set by the subject provider are met.
7. The grades awarded as a result of the assessment are:
8. The quality of education in drama, dance and cinematics at the University of Ulster is approved.
10. The theatre studies curriculum develops from a foundation of core modules in year one to a range of specialisms in years two and three, grouped into four pathways: Theatre Practice; Community Drama; Arts Management; and Forms and Practices of Theatre. The pathways provide coherence and vocational orientation, yet are sufficiently flexible to enable students to fashion programmes to suit their individual interests.
11. The curriculum allows staff and students to devise projects that engage students in activities of immediate practical social value and relevance. For example, students taking the Arts Marketing module have recently collaborated with the Portrush Community Development Group on a feasibility study for an arts education centre. The assessors saw impressive work in progress for the Environmental Theatre module; students were designing a video on teenage suicide as an educational resource pack for the regional suicide prevention officer. In their meeting with the assessors, students identified the ability of the curriculum to respond to its social environment as a key strength.
12. Another strength identified by students is the strong emphasis on opportunities for performance practice. Students are able to engage with other performance media in creative ways, in line with the stated group aim. The assessors saw examples of effective utilisation of video in the Environmental Theatre project, radio interviews in an Arts Marketing class, and music in a dissertation.
13. A range of activities in academic research, project management and performance practice prioritise independent and collaborative work; this contributes strongly to the development of subject-specific and transferable skills. The Certificate in Community Drama, in particular, emphasises self-help and interactivity.
14. Staff research and professional practice maintain the currency of material in the curriculum. This is evident in modules such as Community Drama, Popular Theatre, Beckett in Performance and Shakespeare's Theory of Performance. Research into information technology (IT) in the arts has informed the Arts Management modules.
15. Placements, which are valuable in developing professionally relevant skills and providing preparation for employment, are currently limited to the Community Drama pathway. Graduates of the course were unanimous and vociferous in their praise of the professional attachments which were previously undertaken by all theatre studies students. The assessors welcome the University's undertaking to reinstate the placement provision from the next academic session.
16. This aspect makes a full contribution to the attainment of the stated objectives. The aims set by the subject provider are met.
Curriculum Design, Content and Organisation:
Grade 4.
18. The assessors observed 10 sessions, constituting a representative sample of teaching and learning activities and involving all staff teaching at the time of the visit. Of these sessions, 40 per cent were grade 4 and 60 per cent grade 3. No sessions were graded less than 3. Excellent staff-student engagement was a distinctive feature of all sessions. Classes were conducted in a spirit of partnership and mutual respect in a friendly, relaxed atmosphere. Other positive features of many sessions included: meticulous planning, with full supporting documentation and effective use of illustrative material; careful and constructive facilitation of seminar discussion, including sensitive handling of delicate questions close to students' personal experience of the troubled political situation; application of the teacher's own research or practice; and innovative strategies, for example, using stage combat techniques to teach basic acting awareness. Among the less positive features of some sessions were: lack of focus in discussion; a readiness to accept superficial responses from students; and poor preparation or lateness on the part of some students.
19. Students are encouraged to take responsibility for planning their personal development through the programme. Those following the Theatre Practice pathway have an interesting choice of methods of practical working and assessment, including an option to present a masterclass. The assessors observed one of these in operation and were impressed by the diligence and energy of the students and the sophisticated level of feedback from the tutors.
20. Productive contact is maintained with the world outside the University and advantage is taken of extracurricular opportunities. For example, students taking the Contemporary Irish Theatre module attended the drama event, 'Study Ireland Day' in Belfast.
21. The student handbook describes the nature, challenges and responsibilities of theatre studies and functions as a valuable aid to learning. It is well used by students; one told the assessors that she read it on the train to university every day.
22. Practical projects offer students good levels of challenge and encourage exploration and experiment. However, written assignments are not always successful in promoting 'the interrogation of experience as part of a disciplined enquiry'. In some cases this is owing to the nature of the questions set, the large amount of documentary support provided, and over-generous assessment of descriptive writing. The commitment to high levels of literacy expressed in the self-assessment and student handbook is not always evident in the assessment of written work.
23. Assessment criteria for both written and practical work are clearly articulated and extremely thorough. Assessment grids offer a user-friendly way for students to monitor their own progress. Students recognise the developmental value of assessment and appreciate the comprehensive and constructive feedback they receive from staff.
24. This aspect makes a substantial contribution to the attainment of the stated objectives; however, there is scope for improvement. The aims set by the subject provider are met.
Teaching, Learning and Assessment:
Grade 3.
26. The ratio of applications to places for the Theatre Studies degree is approximately 5:1. Although a majority 63 per cent of students arrive with GCE A-Level qualifications, typically with a score of 19.8 points, there is a substantial representation of non-traditional entrants and mature students (29 per cent). On the Certificate, nearly 80 per cent are mature students and nearly 90 per cent have no standard entry qualifications. The external examiner has identified as one of the real strengths of the course the wide cross-section of students it recruits, including, for example, a community volunteer worker, a busker and a university lecturer.
27. Students are encouraged, from the outset, to think strategically about their module choices and to examine the relationship between their learning experience and future career skills. This helps to ensure structured progression through the degree programme. Withdrawals and transfers from theatre studies are extremely rare. Almost all students successfully complete the course, and just over 80 per cent achieve Upper Second class degrees.
28. Graduates are highly valued for their broad knowledge base of arts culture and for their ability to place their individual skills within the wider context of theatre and performance. Graduate destinations reflect the specialist areas of the degree programme and its regional focus. An increasing number of graduates are finding, and indeed creating, work within the Province. Several are employed as co-ordinators and directors of arts centres and some have set up their own community theatre companies. An average of 20 per cent proceed to further training or higher degree study. Many students who have completed the Certificate work in community theatre in Derry.
29. The practical work of current students, within personally stretching and regionally significant projects, is imaginative and courageous. It demonstrates self-awareness, sensitivity to complex social issues and an ability to work effectively in groups. Their written work is less impressive. Examination scripts, essays, logbooks and dissertations are variable in quality and do not always achieve the intellectual competence and disciplined interrogation of experience identified in the subject objectives. For example, in some cases there is evidence of over-reliance upon a limited range of sources and a re-presentation of material drawn from lecture notes or handouts. Dissertations explore a good range of relevant contemporary topics and some incorporate sophisticated research methodology, but even the best rarely achieve the analytical distance needed for critical evaluation.
30. This aspect makes a substantial contribution to the attainment of the stated objectives; however, there is scope for improvement. The aims set by the subject provider are met.
Student Progression and Achievement:
Grade 3.
32. In addition to a formal induction programme, new students can meet staff and current students at a voluntary Saturday workshop. This helps to acclimatise students on their first weekend away from home and is especially valuable for students from outside the Province. The arrangement exemplifies the deep-seated caring ethos.
33. An extensive range of central and subject-specific written guidance and information assists students' orientation on entry. In addition, the colloquially written theatre studies student handbook, illustrated by a second-year student, offers an accessible and comprehensive introduction to the subject and offers valuable social, personal and academic 'survival kits'. The handbook is complemented by a theatre studies web-site.
34. The handbook and web-site stress the value of the personal studies adviser allocated to each student: 'Your studies adviser is your lifeline, so stay in regular contact'. Not all students take full advantage of the formal system and rely instead on the genuine open-door policy operated by all staff. Students were overwhelmingly appreciative of the outstanding level of commitment of personal time and energy on the part of staff. For example, one member of staff, in her own time, provides special classes in literacy and IT skills for students who need additional support in these areas.
35. Staff are most sensitive to the special circumstances of the Northern Ireland context and go to considerable lengths to be supportive and sympathetic towards students under particular pressure. They would benefit from a more structured university policy towards the less convincing cases of absenteeism and lateness.
36. There is an excellent relationship between the Subject Group and the University's counselling and guidance service. Effective collaboration has taken place in supporting and working with dyslexic students, and the senior counsellor has contributed guidelines on giving and receiving feedback for the student handbook. In addition, a friendly cross-denominational chaplaincy offers an accessible service and a virtually 24-hour response to need.
37. Liaison with the careers advisory service is also good. The service has helped theatre studies students to run their own careers fair and is currently piloting an innovative project of graduate mentoring with theatre studies graduates. The Subject Group also offers students valuable careers advice and contacts. There have been some instances of placements, for example at the Lyric Theatre in Belfast, leading to employment opportunities.
38. This aspect makes a full contribution to the attainment of the stated objectives. The aims set by the subject provider are met.
Student Support and Guidance:
Grade 4.
40. Dedicated spaces for practical work are equipped to industry standard. The extensive range of technical equipment is meticulously maintained and organised in such a way as to be both readily available to students and unobtrusively stored. The theatre studies studio has three structural pillars in the centre of the space, but innovative approaches to presentation have turned this idiosyncrasy into a design strength. The absence of a control box is imaginatively resolved by the use of a remote-control video camera. Students have access to professional working spaces in the Riverside Theatre, located on campus, for practical classes, rehearsals and annual performances. A second studio, rehearsal room, wardrobe and workshops are available, together with other performance spaces such as the Octagon. A small theatre studies resource room offers basic equipment, including a telephone for students who need to make contact with outside agencies as part of their coursework. It is symptomatic of students' integrity that this facility is not abused.
41. Teaching spaces are generally pleasant and equipped with appropriate and occasionally sophisticated audiovisual equipment. The Magee campus does not have a dedicated drama space, but students on the Certificate course are able to use the facilities at Coleraine for technical work, and they confirmed that the resources meet their requirements.
42. The level and quality of technical support are outstanding. Health and safety concerns are taken very seriously and form an integral part of the programme. The senior technician offers valuable teaching and pastoral assistance as well as technical supervision and training. Students were fulsome in their praise of his contribution to the high quality of provision.
43. Students have good access to IT provision through centrally located suites, some of which are open 24 hours a day. Induction takes the form of a basic printed beginners' guide. Most written work is word-processed and students regularly interrogate the world-wide web for subject-specific information.
44. Library provision is adequate for current requirements, although there is a 48-hour wait for some texts which have not yet been moved from the Jordanstown campus. Students receive appropriate library induction and support, but there is clear evidence from a variety of sources that library counter staff do not fully assist students in the first stages of their enquiries. An extensive range of audio and video material is available through the Film and Sound Resource Unit.
45. This aspect makes a full contribution to the attainment of the stated objectives. The aims set by the subject provider are met.
Learning Resources:
Grade 4.
47. Students understand and appreciate the opportunities for their representation and consider that their views are heard in the right places. Elected student representatives attend a Staff-Student Consultative Group which generates agenda items for the Course Committee. The Theatre Studies Forum, open to all staff and students, provides an additional opportunity for consultation. Students were able to provide ample evidence of action taken in response to their views and were particularly grateful for the widespread consultation over the recent substantial redesign of the curriculum.
48. The student handbook usefully expresses the relationship between staff and students in terms of a mutual contract of learning, based on qualities of trust, responsibility and understanding. There is a clear commitment to equal opportunities, evident in the efforts made to ensure equality in the learning experience of students with disabilities. In some cases, the quality of the students' learning experience is assured at subject level rather than through secure university systems, for example in the handling of problems relating to literacy, IT competence and attendance.
49. Staff are actively engaged in personal development through undertaking subject-specific research or specialised training in teaching practice, health and safety or various aspects of student counselling. In this they are well supported by staff development policies at university and subject level. New staff without experience of teaching in higher education are required to take an in-house Certificate. A member of the Subject Group has graduated from this course and is now active in the dissemination of good practice. All staff participate enthusiastically in a well-devised scheme for peer review of teaching. Module evaluations serve to focus annual staff appraisal.
50. The self-assessment articulates clear aims and objectives, and communicates the ethos and spirit of theatre studies. It is less effective in terms of critical self-evaluation than some of the other documentation made available during the visit.
51. This aspect makes a full contribution to the attainment of the stated objectives. The aims set by the subject provider are met.
Quality Assurance and Enhancement:
Grade 4.
53. The positive features of the education in theatre studies in relation to the aspects of provision include the following: