School of Drama, Dance, Production and Screen

Guide for Applicants: 2014/15

BA Acting
BA Contemporary Performance Practice (Hons)
BA Production Technology and Management
BA Production Arts and Design
BA Digital Film and Television
BA Musical Theatre
BA Modern Ballet (in partnership with Scottish Ballet)

CONTENTS

PAGE NUMBER

Introduction and Application Procedure

Entrance requirements for all courses

BA Acting
Programme Information
Preparation for Audition

9
9
10

BA Contemporary Performance Practice (Hons)

Programme Information
Preparation for Audition

13
13
14

BA Production Arts and Design

Programme Information
Preparation for Interview

17
17
18

BA Production Technology and Management

Programme Information
Preparation for Interview

20
20
21

BA Digital Film and Television

Programme Information
Preparation for Interview

23
23
24

BA Musical Theatre
Programme Information
Preparation for Audition

26
26
27

BA Modern Ballet
Programme Information
Preparation for Audition

31
31
32

Following your Audition

34

Students with Disabilities / Equal Opportunities

Policy and Statement / Criminal Convictions

36

INTRODUCTION
Thank you for your interest in the Royal Conservatoire of Scotland. If you require
any further information regarding the application and selection process generally or,
more specifically, about your own application please do not hesitate to contact
Academic Administration and Support - Admissions in the first instance. Contact
details are:
Tel:
email:
website:

0141 332 4101

[email protected]
http://www.rcs.ac.uk

Please read this guide carefully before submitting your application and retain it for
reference throughout the selection process.
Closing date
Closing date for all undergraduate programmes to the School of Drama and Dance
is:
UK/EU applicants 15th January 2014
Overseas (non EU) 31st March 2014
The Conservatoire does not offer deferred entry. If you wish to commence in
2015/16, you must apply next year.
Why is there a differing closing date?
Applicants from the UK and other European Union countries apply for a restricted
number of Government funded Home/EU fee places. Those applicants who do not
qualify for the Home/EU fee status, apply for an unrestricted number of places but
must pay the overseas fee.
Audition/Interview period
Course
BA Acting
BA (Hons) Contemporary Performance Practice
BA Production Technology and Management
BA Production Arts and Design
BA Digital Film and Television
BA Musical Theatre
BA Modern Ballet

Period
November May
January - June
February
February
January May
January April
December - March

Auditions are scheduled chronologically in relation to when your application is

received.
Application Procedure
The Royal Conservatoire of Scotland, together with six other UK Conservatoires,
participates in an online admissions service. Applications for all programmes offered
by the Conservatoire (with the exception of Research programmes) must be made
online through the Conservatoires UK Admissions Service (CUKAS) website at
www.cukas.ac.uk. The Royal Conservatoire of Scotland institution code is R58. You
will find details of the admissions process on that website and you can call CUKAS
on 0870 468 0470 should you need advice or assistance.
You will also require the following course codes to apply:
3

Course
BA Acting

Course
Code
W410

BA
(Hons)
Contemporary
Performance
Practice
BA Production Arts and Design
BA Production Technology and Management
BA Digital Film and Television
BA Musical Theatre

W310

BA Modern Ballet

201F

203F
204F
200F
202F

Discipline
Drama
Performance
Drama
Performance
Drama Production
Drama Production
Drama Production
Drama
Performance
Dance

Audition Locations
The Conservatoire holds auditions at the following locations. If you wish to audition
at any of the locations below, please submit your application at least one month in
advance of the audition date. If you select institution your audition will be in
Glasgow. We also welcome recorded auditions from non UK applicants. If you wish
to audition by recording, please select recording. If you require further information
about auditioning overseas, please email [email protected].
Audition Location
Month of Audition
Chengdu China
November 2013
Beijing China
November 2013
Wuhan China
November 2013
Seoul South Korea
December 2013
Hong Kong
January 2014
Singapore
January 2014
New York USA
January 2014
Chicago USA
February 2014
London (Musical Theatre only January 2014
applications must be submitted on
CUKAS by 31st December 2013)
Oslo Norway
February 2014
Sydney Australia
April 2014
Toronto Canada
April 2014
Application Fee
There is a CUKAS application fee of 16. In addition to that application fee, each
Conservatoire charges an audition fee. For the Royal Conservatoire of Scotland, the
audition fee is 45 per programme applied for. Fees are not refundable. The fees are
paid via the CUKAS website and not directly to the Conservatoire. The
Conservatoire does not offer any fee waivers.
References
It is your responsibility to ask two separate referees to write references and ensure
that these are sent to the Conservatoire. The references must be written by two
different people and we will not accept references from family, other relatives or
close friends. You can submit your CUKAS application form and send your
references at a later date and this must be received prior to your audition date.
4

CUKAS
provides
reference
forms
for
you
to
download
(http://www.cukas.ac.uk/students/applying/howtoapply/references) and send to your
referees for completion.
Tuition Fees and Funding
For
up
to
date
information
on
tuition
fees
please
see
http://www.rcs.ac.uk/studyhere/fees/.
Please
contact
Student
Finance
([email protected]) if you require further information on fees or funding.
Scholarships
The Royal Conservatoire of Scotland is able to offer a number of entrance
scholarships which are awarded as part of the audition/selection process on the
basis of merit.

ENTRANCE REQUIREMENTS FOR ALL PROGRAMMES

Non Standard Entry and the Accreditation of Prior Learning
In exceptional cases, applicants may be admitted to the Programme whose
qualifications do not match (in terms of equivalence) or fall short of the normal
entrance requirements described above, but who clearly satisfy the selection
procedures and indicate that they have the capacity to pursue the Programme. Due
consideration will be given to any applicant with formal, certificated qualifications in
areas of study related to the specifics of the Programme content.
Mature Students
The Conservatoire welcomes applications from mature students, i.e. students over
the age of 21 at entry to the Programme. Whilst the selection procedures will still be
applied, consideration will be given to drama, dance, screen and production and
other experience not normally expected in school-leavers, which is deemed to
compensate for any lack of traditional entrance qualifications. Successful mature
applicants, as all other applicants, must convince auditioning panels that they have
the ability and potential to cope with the demands of the Programme. Their
progress, especially in the early stages of the Programme, will be closely monitored
and appropriate advice and help given.
Language of Study
The language of study is English. Applicants whose first language is not English will
be required to provide evidence of proficiency in English. Level 6.5 of the
International English Language Testing System (IELTS) or equivalent will be
required of applicants to the BA Production Technology and Management, the BA
Production Arts and Design, the BA Digital Film and Television and the BA Modern
Ballet programmes. Applicants to the BA Acting, BA (Hons) Contemporary
Performance Practice and BA Musical Theatre Programmes will require an overall
score of Level 7.5 and a minimum score of 7.5 in speaking.
General Entrance Requirements
The minimum general entrance requirement for Conservatoire, with the exception of
BA Modern Ballet, undergraduate programmes is:

Passes in 3 subjects at Higher or

Passes in 2 subjects at Advanced Higher or

Passes in 2 subjects at Advanced Level (where appropriate, AS level

performance will be taken into account to the advantage of the applicant) or

International Baccalaureate (minimum score of 24 with 3 subjects at Higher

Level)

Recognised equivalencies

For entry to the BA (Hons) Contemporary Performance Practice programme, it

is necessary to obtain English or Drama at Higher, Advanced Higher or
Advanced Level.

We offer a flexible approach to students taking Highers over more than one
academic year and/or who achieve their qualifications in more than one sitting.
The norm for candidates aged 17-21 is the general entrance requirement for the
Conservatoire undergraduate programmes. However, the programme takes a broad
view of entry qualifications and encourages mature and non standard entry
students. Work experience is taken into consideration.
6

Minimum age at entry is normally 17 as at 1 October of year of entry.

Entrance Requirements for BA Modern Ballet
passes in 5 National 5s or equivalent such as Standard Grades (Grade 1-3) or
Intermediate 1 or 2.
5 GCSEs Grades A*-C or equivalent
Knowledge of ballet vocabulary to a minimum of Intermediate level (or equivalent)
Appropriate physical qualities for a career in professional classical dance
Minimum age at entry is normally 16 as at 1 October of year of entry.

SELECTION PROCESS FOR ALL PROGRAMMES

Applicants who apply on time are invited to the Conservatoire for an audition
and/or interview with members of the Audition/Iterview Panel. Applicants will
be notified of the audition/interview date via email approximately three weeks
before the audition date.
Details of what applicants will be required to do in each stage of the selection
process are given in this guide. During the day applicants will also have the
opportunity to look around the Conservatoire.
Please note that the audition date allocated to you cannot be altered. If you cannot
attend due to illness, then a doctors note must be provided, in which case an
alternative date can be arranged. The Conservatoire has a specific period allocated
to auditions and all ontime applications will be processed chronologically. If an
audition is delayed, there is a risk that places will already have been taken.
Applicants are selected first and foremost on the basis of merit and potential.
However due attention is also paid to the range of applicants accepted in order to
ensure the optimum experience for each student and to sustain the critical mass
required for activities.
International Applicants
International applicants who are unable to attend an audition in person must supply a
recording (with the exception of applicants for BA Digital Film and Television, BA
Production Technology and Management and BA Production Arts and Design). This
can either be submitted by DVD, email, YouTube link or Viemo. Details of the
requirements for recorded auditions can be found in the individual programme
requirement detailed further in the Guide. Applicants for BA Digital Film and
Television, BA Production Technology and Management and BA Production Arts and
Design will be emailed tasks to complete and a deadline to submit the complete
tasks. Supporting documentation of their work can also be submitted. Follow-up
Skype/telephone interviews may then be arranged.
Recordings should be sent to the following address Admissions, Royal
Conservatoire of Scotland, 100 Renfrew Street, Glasgow, Scotland, G2 3DB or
[email protected], following submitting an application on CUKAS and by
the closing date. Please remember to put your name and course applied for on
your recording. Please note recordings cannot be returned.

BA ACTING - PROGRAMME INFORMATION

BA Acting is a vocational degree in acting providing a three year full-time programme
for entrants intending to act professionally. The programme is accredited by Drama
UK.
The programme is both a training and an education for the professional actor. The
principal function of the theatre is the communication of meaning through its
embodiment in performance. The actor is trained to understand the text and
situation, decide upon appropriate action and enact consequent decisions. The
programme enables the actor to assume full responsibility for the creative process
and to work responsibly and with generosity in collaboration with others.
To this end, the programme aims:

To provide the student with the ability to understand and construct meaning
clearly, embodying it as an individual and communicating it as part of a group.
This includes the ability to analyse a text in order to perform believable actions
(physical, verbal and psychological).
To enable the student to handle the stylistic demands of a variety of theatre
forms. The student develops a wide range of vocal, physical and intellectual
skills and ability to observe or imagine appropriate behaviour in order to
recreate it in the characterisation process.
To develop in the student improvisational skills, a high degree of physical
articulation and flexibility, and the vocal skills to use dialect, interpret text and
handle complex language in a variety of contexts and performance spaces.
To develop in the student competence in a number of skills areas including
singing and dance, as well as performance skills associated with the recorded
media of radio, film and television.
To develop in the student the professional and attitudinal skills which will
enable him/her to work creatively and co-operatively with others both
throughout the programme and in the profession.
To engage positively with the needs and abilities of each student, adapting,
where appropriate, the demands of the programme to challenge the individual
and encourage the development of her/his full potential.

This set of aims informs the entire operation of the programme. In particular, they
are translated in the criteria for admission.

BA ACTING - PREPARATION FOR AUDITION

THE FIRST AUDITION
For your initial audition you need to prepare two speeches to perform in
character. One should be from a play by William Shakespeare, preferably in verse,
and the other a contrasting contemporary* piece of your own choice.
Each speech should be no less than one minute and no more than three
minutes. When you are preparing your speeches please time them carefully the
audition panel will stop you if the speech is too long.
Read plenty of plays in order to find the best speeches for you. The panel may ask
you about the play as well as the monologue you have chosen to perform.
Try to find a character with whom you identify s/he does not have to be like you but
you should be able to empathise with the thoughts, feelings and actions implied by
the text. The panel wants to see you bring a character to life, not necessarily
demonstrate great originality of choice.
Take plenty of time to prepare. Read the whole play a number of times. Learn the
words perfectly and rehearse the pieces thoroughly. Do not change your mind at the
last minute and try to prepare a new choice without adequate preparation time.
As you prepare, consider carefully what kind of person the character is, what they
want to achieve, and how they go about getting what they want. Why do they say
those particular words at that moment - how do they want to change the attitude or
behaviour of the listener? What kind of tactics do they use?
* The Contemporary Monologue
It is safe to consider anything written in the latter half of the twentieth century
onwards to be contemporary. However, even a period play written in the late
nineteenth or early twentieth century if it has been adapted by a living author is
considered as contemporary. So for example Tom Stoppard's adaptation of Anton
Chekhov's Three Sisters or Zinnie Harris adaptation of Strindbergs Miss Julie would
both be fine. A good rule is if the author is alive, or could theoretically still be alive if
they died young (e.g. Sarah Kane) then you can consider the work as contemporary.
Of course finding a speech from a relatively new work (e.g. from the last ten years or
so) gives us some indication of your knowledge, understanding and passion for
theatre today, so the more recent the work, the better.
Attending for Audition
Please be punctual. There are many people to be seen, and latecomers make
difficulties for everyone. If you are delayed, please let the Conservatoire know,
with as much notice as possible: the number to ring is: 0141 270 8265.
The auditions are stewarded by first year BA Acting students. When you arrive at
the Conservatoire, please report to the Academic Administration and Support office.
Before and after your audition, you can to ask the students about their own
experience of auditioning and about being on the programme. Be sure to take
advantage of this opportunity to find out what life on the programme is really like.
Dont forget the audition day is your chance to discover if we are right for you.
10

In the first part of the audition you will be asked to perform both of your pieces and
have a short interview with the panel of two staff or professional theatre practitioners.
Bring copies of your scripts with you if you think you will need a steward to prompt
you.
At the end of the morning session, when the recall list is being drawn up, you will be
given a brief tour of the building.
It is the Conservatoires policy that no feedback is given on a candidates
performance at the audition.
The recall begins after lunch. This consists of a series of group improvisation
exercises. These give us an opportunity to see you in circumstances you cant plan
or prepare for. Well be looking to see how spontaneous and open to others you can
be. Dont try and impress us.
You will be asked to perform at least one of your pieces again before the Recall
Panel. The panel will work with you on one of your pieces and you will be given a
sight-reading test. You are given time before the recall audition to select and
prepare a piece of text from a number of options. This practical work will be followed
by another interview.
In the interview do not try to give the replies you think are wanted, or that will
impress, just be yourself and answer honestly.
This is followed by a question and answer session with the Chair of the Audition
Panel.
Please do not make arrangements for return travel earlier than 6.30 p.m.
Throughout the audition and interview, the panel will be looking for evidence that in
most, if not all of the following aspects you are able to:

Bring a character to life with believable thoughts, feelings and actions which are
appropriate to the text chosen.
Be sufficiently relaxed and energised in performance, improvisation and
interview in order to present your characters and yourself with honesty, clarity
and conviction.
Show potential in voice and body for further development of the means of
expression.
Discuss your work giving reasons for choices made.
Respond to direction in performance and improvisation.
Be open to others, responding creatively to their ideas, thoughts and feelings.
Demonstrate some knowledge of theatre, film and television today.
Show some experience of acting in public performances.
Indicate the maturity, resilience and commitment necessary for successful
completion of the programme and entry into the profession.

You will then be advised one week after your audition if you have reached the final
workshop recall audition stage.
11

WORKSHOP AUDITION
Applicants who proceed past the first audition day will be invited to attend a
workshop recall audition at the Conservatoire in Glasgow. The morning will involve
voice, movement and acting workshops led by programme staff. You do not need to
prepare anything for the workshop day. If you are recalled to the afternoon, there will
be an interview with the Head of Acting and a lecturer of the programme.
Workshop dates will run on Wednesday 26 March, Thursday 27 March, Friday 28
March, Monday 12 May and Monday 19 May (dates to be confirmed). You must be
able to attend a workshop audition day if you are successfully recalled.

Recording Requirements for Overseas Candidates

If you are applying by recording please submit yourself performing two speeches in
character. One should be from a play by William Shakespeare, preferably in verse,
and the other a contemporary contrasting piece of your own choice. Each speech
should be no less than one minute and no more than three minutes. Please also
include a personal statement at the beginning (straight to camera). This should
include a brief overview of your background and why you are interested in studying
at the Royal Conservatoire of Scotland. Please also include a variety of close,
medium and long shots in your audition.

12

BA (HONS) CONTEMPORARY PERFORMANCE PRACTICE - PROGRAMME

INFORMATION
The BA (Hons) Contemporary Performance Practice is a four-year full-time
programme leading to an honours degree. This programme is a practical
performance degree for people who are keen to innovate and for aspiring theatre
makers who wish to work collaboratively to make performances which have
something to say about the world in which we live.
If you are interested in the disciplines of performance, installation, movement,
research and documentation in various forms and combinations, if you are interested
in hybrid art forms which are emerging in response to the times, if you are interested
in working with image, action, sound and text to create new performance works and
in developing yourself as an independent artist, then this is the programme for you.
Staffed by practising artists, this innovative and challenging degree places
collaborative practices and interdisciplinary approaches at its heart. This broad
based approach values the belief that the contemporary artist specialises in the
realisation of ideas rather than the pursuit of specialism.
Graduates follow a variety of careers; they set up their own companies, work as solo
artists in the live arts sector, direct or perform in devised, community or educational
theatre, and work as freelance drama workers for theatre companies or community
organisations. With further specialised study, graduates have also become drama
teachers and drama specialists in settings such as prisons and healthcare
organisations.
The programme aims:

To provide a broad-based practical study of contemporary theatre and

performance.
To foreground the social function of performance practices.
To establish the concept of praxis, a dialogue between the critical study of
performance and the creative work of the artist.
To provide the student with the knowledge, skills and understanding to realise
the aesthetic and social potential of the making of performance with other
people.
To enable the student to experience various relationships to audiences,
performance environments and contexts.
To serve the wider performing arts professions increasing demand for skills
and aptitudes beyond the traditional understanding of theatre and the received
understanding of live art and performance practices and thereby promote
employability of its graduates.
To encourage the student to develop a variety of approaches and attitudes to
making performance by working with professional theatre-makers and artists of
the highest calibre.

13

BA (HONS) CONTEMPORARY PERFORMANCE PRACTICE - PREPARATION FOR

AUDITION
The BA (Hons) Contemporary Performance Practice is a practical programme so
entry is dependent upon a practical audition as well as academic qualifications.
These notes are intended to give you some helpful information and advice. Please
read them carefully.
The Selection Process
The Selection Process has three stages; the workshop, the written exercise and the
interview. Each stage is concerned with gathering information which will give us the
best possible indication of your suitability for the programme. It also give you time to
discover whether we are right for you! The timetable for the day is as follows:
Time

Activity

Proportion of Selection Panel Members

Candidates
Group workshop All candidates
The
Head
of
Performance
Pedagogy and other CPP Lecturers
Lunch
-

10am1pm
1pm2pm
2pm5pm

Individual
Interview

Those selected

The
Head
of
Performance
Pedagogy and other CPP Lecturers

The Written Exercise Performance Analysis

On the day of the audition you should bring a short Performance Analysis that you
have written. You should submit your Performance Analysis when you arrive at
Conservatoire. You are invited to write about a live performance event you have
seen recently, saying what you found effective about it and why. You are asked to
explain why this performance was an important experience for you. The written
Performance Analysis will give us an indication of your ability to communicate your
ideas about performance in good written English. You are advised to write about a
live performance event which you feel strongly about. Your Performance Analysis
should be no longer than 500 words and must be all your own work.
The Workshop
The workshop will take place in the morning. It lasts approximately 3 hours and
involves all candidates. Three lecturers, normally including the Head of Performance
Pedagogy, will work with you. We try to make this stage as non-competitive as
possible, because we would like the opportunity to see you working with other
people. You cannot prepare for this session other than by being determined to
participate and enjoy yourself! The workshop will include exercises and activities,
which will allow us to see some of the following:

Your performance skills.

Your vocal skills.
Your movement skills.
Your listening skills.
Your ability to work co-operatively and collaboratively with others.
Your creativity and imagination.
14

During the workshop you will be invited to present a short pre-prepared performance
piece.
What is the Performance Piece?
You will be invited to prepare an original, devised performance piece using as a
starting point your selection from a number of pictures which will be sent to you
with your invitation to attend for audition. You may, if you wish, choose elements
from any or all of the pictures. They are random pictures but you may see a
connection in them and wish to explore that.
The piece must last no more than 3 minutes, so rehearse and time yourself.
It does not have to be naturalistic or tell a story.
The main thing to avoid is performing a talking head. In other words dont just
perform a spoken monologue in character without any of the ideas below. Try, as
far as possible to turn your ideas into performed images.
Try to give your piece a structure (even though its only 3 minutes) for example,
you may begin and end with the same moment in time.
Your piece may include one, some or all of the following:
Real objects: e.g. teapot, iron, hat, suitcase, clothing etc.
Symbolic objects: e.g. cross, flower, mask, etc.
Spoken word: e.g. text youve written yourself, text from a play, text from a poem,
a newspaper article, a politicians speech etc.
Action and movement: e.g. gestures, everyday activity, found activity (copying the
way someone you see in the street walks, an air hostess giving emergency
instructions, someone dancing in a club etc.), dance etc.
Music: e.g. a song sung live, music and/or sound recorded onto MP3 or CD,
music played by you on an instrument etc.
It may not include any flames, candles or burning of items. If you anticipate that your
performance will be messy, it is essential that you bring everything that you will need
to clear up after yourself quickly and effectively.
Following the workshop you will be given time to have lunch, to see the School of
Dramas facilities and to talk to students about life at Conservatoire. Over lunch a list
will be posted indicating those we would like to see for an interview.
The Interview
The interview will take place during the afternoon of the same day, normally
conducted by the Head of Performance Pedagogy and other CPP lecturers. The
interview will look for, amongst other things:

Your ability to communicate your ideas about performance.

Your understanding of contemporary performance work.
What you want to do in performance in the future.
What your previous experiences of performance have been.
Why you think performance matters in the world today

You will also be given the opportunity to present a portfolio or other evidence of your
experience and interest. In the interview dont try to give the replies that you think
we want or think will impress us. Be yourself, and answer honestly. This is also
15

your opportunity to see if this programme suits you, so please ask us questions. You
will be informed by letter of the result of the day.
Attending for Audition
Please be punctual. There are many people to be seen, and latecomers make
difficulties for everyone. If you are delayed, please let the Conservatoire know,
with as much notice as possible: the number to ring is: 0141 270 8265.
Finally, remember that the tutors here want you to be seen at your best, quite as
much as you do, so...Good Luck!
Recording Requirements
If you are applying without attending a live audition please submit the following:
1. A recording of a personal statement (straight to camera). This should include
a brief overview of your background and why you are interested in studying
the CPP programme at the Conservatoire.
2. A recording of yourself performing a short performance piece (please email
[email protected] to be sent the performance piece pictures)
3. A written performance analysis
4. Following your recording, you will be contacted for a Skype interview.

16

BA PRODUCTION ARTS AND DESIGN PROGRAMME INFORMATION

The two specific strands of this programme are for students aspiring to a career as a
Production Artist or a Set/Costume Designer in the performing arts sectors of the
creative industries specialising in one or more of the following areas;
Scenic Art; Costume Construction; Set Construction; Prop Making;
Set & Costume Design.
Ideally, youll be able to demonstrate skills and experience in at least one or two of
these areas when you apply as you will be required to study both a major and a
minor subject for the first two years.
In an initial foundation period you will investigate Production more generally
alongside students from the BA Production Technology and Management
programme and will experience all areas of the broader Production department. You
will be introduced to the stage environment and associated practices and
technologies and at the same time develop key practical skills by working in each of
the four Production Arts workshops. You will also participate in a design project
introducing the discipline of design and the process required to take your ideas from
page to stage.
You will then follow a major and a minor study through years one and two building
your knowledge, skill and experience in two complementary areas of specialism.
The programme will allow you develop your abilities in a real world context, with a
focus on building high level practical skills but allowing you to take on on greater
responsibility for the management of resources and leadership in productions if you
choose. Well help you to develop the specialist practical, aesthetic, and conceptual
skills, confidence, and professionalism to work collaboratively with directors,
producers, and performers.
There will be an opportunity to develop further relevant skills in areas such as
drawing (including digital drawing packages) and portfolio building as well as
undertaking professional placement opportunities and choice modules from across
the Conservatoire.

17

BA PRODUCTION ARTS AND DESIGN - PREPARATION FOR INTERVIEW

The format of your interview will involve the following:

An informal tour of the Conservatoire by students currently undertaking the

programme lasting 20-30 minutes.
A formal interview with a panel normally consisting of members of the programme
lecturing staff, selected to be appropriate to your specialist interest(s). This
interview will last approximately 45 minutes.

Attending the Interview

Please be punctual. There are many people to be seen, and latecomers make
difficulties for everyone. If you are delayed, please let the Conservatoire know,
with as much notice as possible: the number to ring is: 0141 270 8265.
At the appointed time, please report to the Reception Desk where you will be
directed to your student guide. During the tour you will have the opportunity to ask
the student about all aspects of their own experience of being on the programme, a
parent or companion may join you on the tour if you wish. Be sure to take advantage
of this opportunity to find out what life on the programme is really like. Dont forget
the interview day is your chance to discover if we are right for you!
You are invited to bring any evidence to the interview that you think will support your
application. The interview panel will judge each applicant as an individual with a
unique mix of qualities and in consequence you are encouraged to bring practical
examples of your work to the interview which might take the form of at least some of
the following, depending on your specialism:

Art portfolios, sketches, models, photographs

Samples of practical work such as props, costume, small pieces of woodwork etc.
Set and/or costume designs either as sketches, renderings or three-dimensional
models.
Evidence of previous production experience such as press cuttings or
programmes, whether at school, amateur level or professionally.

Prior to the interview you will be sent a predefined exercise, which is intended both
to illustrate your skills as a production artist or designer and to show your approach
to a given task. You will be asked to bring your response to this exercise to the
interview. The panel will invite you to discuss the process of your work with them and
will also ask you to discuss a piece of theatre that you have seen recently. It is
important to be well prepared for the interview as it is a short space of time for us to
get to know you.
The interview panel will be assessing, amongst other things;

The relevance and validity of your previous experiences, both academic and
production-related.
Your ability to analyse production requirements, make appropriate decisions
and communicate and defend your conclusions.
Your understanding of the production industry and the nature of the training
programme have applied for.
Your career aspirations and approach to achieving your goals.
18

At the end of your interview you will be free to go although, if you are unfamiliar with
Glasgow, we would strongly encourage you to take the time to look around and get a
feeling for the city before leaving.
If you cannot attend a live interview, please email [email protected] who
will forward you the tasks. Please submit the completed tasks by the closing date
following submitting an application on CUKAS. This will then be followed up with a
telephone/Skype interview.
If you would like to discuss any matters relating to the programme, interview process
or the set exercise please do not hesitate to telephone Ros Maddison (Head of
Production) directly on 0141 270 8326 or email [email protected].
Questions from parents and tutors are most welcome too!

19

BA PRODUCTION TECHNOLOGY AND MANAGEMENT PROGRAMME

INFORMATION
This programme is for students who wish to train in one or more of the following
areas;
Stage Management; Stage Technology; Lighting and Sound Technology (Core)
Lighting Design; Sound Design (Elective)
In an initial foundation period you will investigate Production more generally
alongside students from the BA Production Arts and Design programme and will
experience all areas of the broader Production department. You will be introduced to
the production arts workshops and the design process and at the same time develop
key practical skills in the core subject areas offered by the programme.
From then, you will then have the opportunity to work on Conservatoire productions,
progressing level by level, advancing from assistant roles at first, and right up to
taking on the responsibility for the management of major public productions before
graduation.
You will practice all core areas within the programme to at least departmental
assistant level and will have the opportunity to specialise further in a core or elective
subject or, if you wish, you can remain more broad based in your learning journey.
There is the opportunity to develop further relevant skills in the production workshops
as well as engaging with choice modules from across the Conservatoire.
Health and Safety is a priority and Preparing for the Industry modules, including
specific health and safety training along with other key employability skills, will be
delivered throughout the programme.
Close working relationships with Scotlands national companies as well and a range
of regional theatres and other organisations help you build strong contacts with key
employers. In your final year an industry based secondment provides the last
stepping stone in your preparation toward a fulfilling career in the production for the
creative and cultural industries.

20

BA PRODUCTION TECHNOLOGY
INTERVIEW

AND

MANAGEMENT - PREPARATION

FOR

The format of your interview will involve the following:

An informal tour of the Conservatoire by students currently undertaking the

programme lasting 20-30 minutes.
A formal interview with a panel normally consisting of members of the programme
lecturing staff, selected to be appropriate to your specialist interest(s). This
interview will last approximately 45 minutes.

Attending the Interview

Please be punctual. There are many people to be seen, and latecomers make
difficulties for everyone. If you are delayed, please let the Conservatoire know,
with as much notice as possible: the number to ring is: 0141 270 8265.
At the appointed time, please report to the Reception Desk where you will be
directed to your student guide. During the tour you will have the opportunity to ask
the student about all aspects of their own experience of being on the programme, a
parent or companion may join you on the tour if you wish. Be sure to take advantage
of this opportunity to find out what life on the programme is really like. Dont forget
the interview day is your chance to discover if we are right for you!
You are invited to bring any evidence to the interview that you think will support your
application. The interview panel will judge each applicant as an individual with a
unique mix of qualities and in consequence you are encouraged to bring practical
examples of your work to the interview which might take the form of at least some of
the following, depending on your experience:

Prompt books, cue sheets and other production related documentation.

Examples of lighting and/or sound designs.
Rigging plans or technical specifications sheets.
Evidence of previous production experience such as press cuttings or
programmes, whether at school, amateur level or professionally.

Prior to the interview you will be sent a predefined exercise, which is intended to
enable you to demonstrate both your problem solving capacity and your approach to
a given task. You will be asked to bring your response to this exercise to the
interview. The panel will invite you to discuss the process of your work with them and
will also ask you to discuss a piece of theatre that you have seen recently. It is
important to be well prepared for the interview as it is a short space of time for us to
get to know you.
The interview panel will be assessing, amongst other things;

The relevance and validity of your previous experiences, both academic and
production-related.
Your ability to analyse production requirements, make appropriate decisions
and communicate and defend your conclusions.
Your understanding of the production industry and the nature of the training
programme have applied for.
Your career aspirations and approach to achieving your goals.
21

At the end of your interview you will be free to go although, if you are unfamiliar with
Glasgow, we would strongly encourage you to take the time to look around and get a
feeling for the city before leaving.
If you cannot attend a live interview, please email [email protected] who
will forward you the tasks. Please submit the completed tasks by the closing date
following submitting an application on CUKAS. This will then be followed up with a
telephone/Skype interview.
If you would like to discuss any matters relating to the programme, interview process
or the set exercise please do not hesitate to telephone Ros Maddison (Head of
Production) directly on 0141 270 8326 or email [email protected].
Questions from parents are most welcome too!

22

BA DIGITAL FILM AND TELEVISION PROGRAMME INFORMATION

The BA Digital Film and Television is a three-year full-time programme, which has
been designed to provide students with the highest quality technical skills training
married to the development of high quality content for film, television, or mobile/webbased platforms.
The DFTV programme will produce graduates who are highly employable and fit for
purpose for the screen industries on both a national and international stage, whether
working as a well-trained part of a collaborative unit or a creative and highly
motivated independent practitioner
The Conservatoire provides a rich, inspirational educational context of unique
opportunities in which to practice your skills and enhance your knowledge, a
renowned place of high artistic ambition and considerable academic reputation in all
forms of creative output.
The Digital Film and Television programme at the Royal Conservatoire of Scotland is
currently Scotlands most successful undergraduate film making programme.
We believe that students need an understanding of all the creative aspects of film
making, so we will offer you craft specialisms in editing, camera, sound and postproduction. By the time you graduate you will be able to work as a well-trained part
of a collaborative machine, in addition to originating your own material.
As well as offering all the craft skills you need to work in the industry, we also let you
explore your creative side content strand that runs throughout the three-year
programme. This involves the generation of TV programme ideas and screenplays
(short form) throughout the duration of your programme allowing the development of
ideas to the highest possible standards.
All the practical aspects of the programme are supported by a theoretical strand,
Craft in Context, that will provide context and understanding for everything you do as
a creative film maker.
The conservatoire status of the Royal Conservatoire of Scotland means that you will
receive extensive, expert tuition from a range of award-winning industry
professionals all of whom are focused on helping you realise your potential.
Collaboration is the essence of the Conservatoire. DFTV students not only have
access to actors, musicians, production designers and performance directors, but
also have that collaborative experience built into the programme. The DFTV
programme also aims to stay ahead of the curve in a dynamic and rapidly changing
industry. In your three years here you will get the chance to develop a wide range of
content including films for the internet, factual programmes for television, drama
series for television, films as mobile content, films for short film schemes, and long
form features.
We actively encourage people with talent and vision to apply. Get in touch with us if
you have particular needs when it comes to learning we want to make the Digital
Film and Television programme accessible and suitably resourced for all qualified
candidates. If you want to know more about how we can help to facilitate your
studies here, please contact us.
23

BA DIGITAL FILM AND TELEVISION PREPARATION FOR INTERVIEW

As part of your application, we invite you to submit a Craft in Context written
component and portfolio one week prior to your interview (further details will be
forwarded to you along with your interview date and time).
Panels will judge
applications strictly on the criteria outlined below:
Applications will be scored in the following areas:

Experience/knowledge
Creativity/Imagination
Communication Skills
Evidence of ability to work independently
Educational Attainment

(10%)
(40%)
(20%)
(10%)
(20%)

In areas where two or more candidates score closely, the panel will consider another
factor: (6) allied experience (such as writing, directing or acting).
What comprises the Craft in Context written element?
In this course, we value creativity and critical thinking as highly as we do technical
ability. Critical thinking is especially important because by evaluating the work of
others you will learn how to improve your own craft. As an indication of your critical
ability you will be asked to submit a short piece of written work (200 300 words
long) from a list of films that the interview panel have compiled. Further details
regarding this will be sent with your interview date and time.
Portfolio Submission
The second part of the interview submission is a piece of visual work that you feel
demonstrates your qualities as a potential film maker. The finished piece or clip of a
piece of work should be a maximum duration of 3 minutes. A brief written outline
should be submitted explaining what the piece/clip was trying to achieve and what
equipment you used to create the work. The outline should be a maximum of 300
words.
If successful at interview we will invite candidates back to the Conservatoire for a
workshop day to examine their creative skills and collaborative approach.
If you cannot attend a live interview, please email [email protected] who
will forward you details regarding the programme idea and film summary. Please
submit the completed tasks and any supplementary items by the closing date
following submitting an application on CUKAS. This will then be followed up with a
telephone interview.
The Workshop Day
The workshop will be split into two sections. First you will be involved in an individual
creative exercise, which you will deliver back to the group.
The cohort will then be split into groups and work on a collaborative creative
exercise.
During these exercises you will be closely monitored by the workshop panel looking
to see evidence of creativity, enthusiasm, originality of thought and an ability to
collaborate.
24

We will also provide practical tasks on the day that will allow you to work in a team
situation, and in this workshop environment we will be assessing your ability to
communicate well, to apply creative problem solving, and to play a strong role as a
team member.

25

BA MUSICAL THEATRE PROGRAMME INFORMATION

The BA Musical Theatre is a vocational degree in Musical Theatre providing a three
year full-time programme for entrants intending to perform professionally.
The programme is specifically designed to train the next generation of creative artists
for the Musical Theatre and related industries. By working with key industry
professionals, students learn the synthesis of text, music and dance to communicate
in the many different styles and techniques required in the increasingly demanding
and diverse environment of contemporary Musical Theatre.
To this end, the programme aims:

To provide the student with the tools to communicate efficiently through text,
song and dance using a continuous sequence of believable physical, verbal
and psychological actions.
To develop in the student both a sense of the individual creative artist and of
the ensemble member.
To develop in the student the acting ability to handle the stylistic demands of a
variety of styles within the genre. This requires a wide range of characterisation
skills using vocal, physical, intellectual and emotional means of communication.
To develop in the student a solid singing technique in order that the main voice
qualities used in Musical Theatre may be studied and used in performance.
To provide the student with a skills base in the major dance forms of ballet,
jazz, contemporary and tap. Students will learn to use their bodies efficiently
and safely to communicate emotion, form and narrative.
To develop in the student the professional and attitudinal skills which will
enable him/her to work creatively and co-operatively with others both
throughout the programme and in the profession.
To engage positively with the needs and abilities of each student, adapting,
where appropriate, the demands of the programme to challenge the individual
and encourage the development of her/his full potential.

This set of aims informs the entire operation of the programme. In particular, they
are translated in the criteria for admission, in the learning outcomes of individual
units of study and in the criteria for assessment, which lead to the award of the
degree.
London Auditions
London auditions are held for Musical Theatre only in January 2014. To be
scheduled an audition in London, you must apply via CUKAS by 31st December
2013. Please select your audition location as London. Audition spaces are limited
and are allocated on a first come, first served basis.

26

BA MUSICAL THEATRE PREPARATION FOR AUDITION

The audition process is separated into four sections designed to explore skills in
acting, singing, dance and musicality. Importance is weighted equally in these four
areas and we will be looking for a strong ability in three and trainable potential in all
four, although it should be noted that the panel will look for evidence of emotional
connection and clarity of expression in all four disciplines.
Dance
You will be led through a group dance audition, which may include elements of jazz,
ballet and contemporary styles. During this session the panel will look for:

The ability to use the body as a means of expression

Evidence of technique, style and the physical fitness to cope with the
intensive demands of the programme
The ability to communicate with the teacher/choreographer and other
members of the group and to synthesise and re-create choreography.

Singing
You should prepare three songs for your audition. These should show vocal range
and the awareness and ability to use contrasting stylistic features common to
Musical Theatre repertoire. The range should include three songs, one of which is
not from a musical (this may be pop, rock, blues, gospel, jazz, folk etc).

music should be prepared clearly for the pianist and should be in the correct
key. If the song is longer than three minutes, please have a cut ready.
no recorded backing will be permitted and you may not accompany yourself
for this element of the audition
it is unlikely that the panel will listen to all three complete songs. We will hear
what we need to get an overall impression of range, technique and potential

During this session the panel will look for:

Evidence of vocal technique and the ability to make style choices appropriate
to Musical Theatre repertoire
The ability to communicate intention, emotion and character through song
Vocal flexibility, intonation, pitch and musicality

Acting
You should prepare 1 Shakespeare monologue and 1 contemporary monologue
to contrast of no longer than two minutes in length. Please prepare and learn these
carefully and have an understanding of the entire play, not just your monologue, as
the panel may ask you to talk about your choices.
During this session the panel will look for:

The ability to bring a character to life with believable thoughts, feelings and
actions which are appropriate to the text chosen.
The ability to connect emotionally with a text
The ability to engage an audience through verbal and non-verbal
communication

27

Music
You should bring your instrument to the audition (this cannot be voice). If do you
play an instrument please prepare a short piece or section of music (no more than 2
mins) demonstrating your musicality. If you do not play an instrument please be
prepared to talk about any experiences you have had with music and how this
influences your choices as an actor, singer and dancer. You will only be asked to
perform this if you reach recall stage.
For this programme, please note the panel are also looking for elements of potential
in musicality and so if you do not currently play an instrument we would encourage
work towards demonstrating any connection with music at your audition. Eg you
could learn a basic melody/chord sequence on piano or guitar.
*Please indicate your instrument on application under your personal statement.
Piano and Drum Kit can be provided on request.
In all the above audition sessions, the panel will look for:

The ability to discuss your work giving reasons for choices made.
An ability to respond positively to re-direction
An openess to others, responding creatively to their ideas, thoughts and
feelings.
Knowledge of the theatre, television, film and music industries
Experience in public performances.
Evidence of the resilience and commitment necessary for successful
completion of the programme and entry into the profession

Attending for Audition

Please be punctual. There are many people to be seen, and latecomers make
difficulties for everyone. If you are delayed, please let the Conservatoire know,
with as much notice as possible: the number to ring is: 0141 270 8265.
The auditions are stewarded by first year BA (Musical Theatre) students. When you
arrive at the Conservatoire (or Speirs Locks Studios), please report to the Reception
desk. Before and after your audition, you have the opportunity to ask the students
about any aspects of their own experience of auditioning or of being on the
programme. Be sure to take advantage of this opportunity to find out what life on the
programme is really like. Dont forget the audition day is your chance to discover if
we are right for you!
The First Audition
Group Dance Call: In the first audition you will be asked to take a group dance call
where you will be taught a short routine and be asked to repeat this in smaller
groups.
Individual Audition: Following the dance call you will have a time allocated
individual audition where you will be asked to perform 1 song and 1 monologue
from your list of prepared pieces for the panel of two staff or professional theatre
practitioners.
At the end of the morning session, a First Recall list will be drawn up as you are
given a brief tour of the building.
28

It is the Conservatoires policy that no feedback is given on a candidates

performance at the audition. However, if you are unsuccessful at this stage it may
be, for instance, that the panel considers that you need to gain more performance
experience.
The First Recall begins after lunch and will be filmed.
Those who reach this stage will be asked to perform extended sections from your list
of prepared material before the main panel which will consist of members of the core
faculty. At this stage it is likely that the panel will do some work with you on one of
your pieces.
Please bring your instrument as you will be asked to play it at this stage (see notes
on Music above)
There will be a short interview with the panel. Do not try to give the replies you think
are wanted, or that will impress, just be yourself and answer honestly.
The recall will take a maximum of 15 minutes. The session is followed by a group
question and answer section with the Chair of the Audition Panel.
Following your audition, you will then be advised if you have reached the final
workshop recall audition stage by email and be given details of when this will be.
Workshop Audition
Applicants who proceed past the First Recall stage will be invited to attend a
workshop recall audition. This will be a full day audition and will involve sessions led
by faculty staff in areas including, acting games & exercises, dance combinations,
singing, devising and improvisation.
Although we advise attending an audition in person where possible, if you are
unable to attend the Conservatoire (i.e. overseas students) then you can
submit a recorded audition see requirements below.
Recording Requirements
If you are applying by recording please clearly chapter it for each section and include
a personal statement at the beginning (straight to camera). This should include a
brief overview of your background and why you are interested in studying at the
Royal Conservatoire of Scotland.
Dance / Movement
Please film yourself performing a short dance piece (1-3mins) which may be jazz,
ballet or contemporary based. This can be self-choreographed or by a teacher. This
should demonstrate turns, jumps and floor work.
Singing
Please film yourself singing three songs accompanied by a pianist. These should
show vocal range and the awareness and ability to use contrasting stylistic features
common to Musical Theatre repertoire. The range should include three songs, one of
which is not from a musical (this may be pop, rock, blues, gospel, jazz, folk etc).
29

Acting
For this section you should film yourself performing:
1 Shakespeare monologue and
1 contemporary monologue to contrast.
Both should be no longer than 2 minutes in length.

30

BA MODERN BALLET PROGRAMME INFORMATION

The BA Modern Ballet is delivered in partnership with Scottish Ballet. It is a three
year full-time vocational degree providing training for students who have the
appropriate physical and artistic abilities and wish to pursue a career in professional
dance.
The programme is designed to equip students with all the skills required by todays
modern ballet companies. The strong classical basis of the course is partnered by
contemporary dance technique and a range of supporting subjects. These include
pas de deux, repertoire, virtuosity, pointe work, gyrotonics, pilates, choreography
and contextual studies. The combination of these subjects will allow graduates to
work in a clear, focused and disciplined manner in a variety of dance genres.
The programme aims:
To provide dance training which will develop the individual technique of each
student, giving them the opportunity to achieve their full potential.
To create intelligent dancers who are able to perform a variety of styles and
dance techniques with artistic integrity. Through the study of a diverse range
of classical and modern repertoire, students will gain an understanding of the
stylistic and physical demands of different works.
To develop in the student the appropriate attitudinal skills which will allow
them to work in a professional environment.
To equip students with knowledge and understanding of safe dance practice.
To develop an understanding and awareness of the process of creating new
dance works. This will incorporate the development of the appreciation of a
broad spectrum of music.
Through working with a range of internationally recognised professionals from
the world of dance, the student will gain invaluable insight and knowledge.

31

BA MODERN BALLET PREPARATION FOR AUDITION

CUKAS APPLICATION FORM

Applicants should give details of the highest level of external examination

attained (if any), the date and the mark awarded. They should also state
which Dance Society this was with (ie RAD, ISTD, BBO etc). It should be
noted that this is not a prerequisite for audition and merely an indication of
level. This should be noted under the personal statement.

PHOTOGRAPHS
Applicants should submit the following photographs to the following address;
Admissions, Royal Conservatoire, 100 Renfrew Street, Glasgow, G2 3DB or by
email to [email protected] following submission of your CUKAS
application and by the 15th of January:
(i)
(ii)
(iii)
(iv)

Demi-plie en face, arms in bras bas

Degage a la seconde, arms in 2nd position
Arabesque en lair, facing decote (side)
Girls only 2nd position en pointe, arms in 5th position
The photographs do not need to be professionally taken but should be against
a plain background and of good quality. Applicants should be photographed
in leotard and tights.

ATTENDING FOR AUDITION

Please be punctual. There are many people to be seen, and latecomers make
difficulties for everyone. If you are delayed, please let the Conservatoire know,
with as much notice as possible: the number to ring is: 0141 270 8265.

Applicants will be expected to participate in a classical ballet class which will

consist of barre work, centre practice, adage, pirouettes and allegro.
Additionally, girls will be given pointe work.
The class will consist entirely of free work.
The class will be taught by a qualified teacher and accompanied by a pianist.
The vocabulary and enchainements will be at an Intermediate level.
The class will be of approximately 1hour and 30 minutes duration
The class will be observed by a panel and applicants will be notified in writing
of the outcome of their audition shortly after.

In the course of the audition, the panel will be looking for evidence that in most, if not
all of the following aspects you are able to demonstrate:

evidence of technique, style and the physical fitness to cope with the intensive
demands of the programme
the ability to understand and apply instruction given by the teacher
the ability to communicate effectively with the teacher/choreographer and
other members of the group.

32

PRELIMINARY AND RECALL AUDITIONS

Candidates who are successful at the preliminary auditions will be invited to
attend a Recall Audition, to be held in Glasgow in March 2014. The Final
Audition will also consist of a classical ballet class but will be accompanied by a
medical screening (carried out by a qualified physiotherapist) and an interview
with the Artistic Director and members of the Programme Team. Applicants and
their parents will be invited to a brief Information Session, where they will be
given further details on the course and an opportunity to meet some members of
the department. Successful candidates will be informed by email.
Recording Requirements
If you are applying by recording please clearly chapter it for each section.
The camera should be positioned so that the full range of movements is shown.
Practice clothes and soft ballet shoes should be worn.
BARRE WORK
(Exercises should be performed on both sides)
Approximately 15 minutes, including:
Plies
Battements Tendus and Battements Glisses
Ronds de Jambes and Battements Fondus
Adage
Grands Battements
CENTRE PRACTICE AND ALLEGRO
Approximately 20 minutes, including:
Battements Tendus/Glisses/Grands Battements
Adage
Pirouettes can be taken from 5th, 4th and/or 2nd position, shown both en
dehors and en dedans. Pirouettes should be performed on both the right and
the left side
Petit Allegro/Warm-up jump
Allegro enchainement
One grand allegro enchainement
GIRLS
In addition to the above, girls should show a short example of pointe work.
ALL APPLICANTS
Applicants may also include a short solo (approx 1 minute) at the end of the class
work. This is not compulsory.

33

Following Your Audition

All decisions will be posted on CUKAS following your audition via CUKAS track,
http://www.cukas.ac.uk/students/track (you will need your username and password).
You will also receive notification from CUKAS when decisions on all your choices are
available.
Please see below for an explanation of CUKAS codes
Guaranteed Unconditional (GU)
The Conservatoire is satisfied from the information you have given, that you have
already met the conditions for entry. Unless your application and/or qualification are
subsequently shown to be fraudulent, a guaranteed unconditional offer is binding.
Guaranteed Conditional (GC)
The Conservatoire has made the offer subject to you meeting certain conditions such
as examination results. Conditions can be viewed via CUKAS track. Unless your
application and/or qualifications are subsequently shown to be fraudulent, the offer is
binding if you accept the offer and meet the conditions. You must meet the
conditions of the offer by 31 August 2014, unless an earlier date is specified.
Reserve Unconditional (VU)
The Conservatoire is satisfied from the information you have given, that you have
already met the conditions for entry and have offered a place on our reserve pool.
See below for further information on reserve offers.
Reserve Conditional (VC)
The Conservatoire has offered a place on its reserve pool subject to you meeting
certain conditions such as examination results. Conditions can be viewed via
CUKAS track. See below for further information on reserve offers.
Unsuccessful (R)
The Conservatoire does not wish to offer you any type of place.
Reserve Offers Explained
A reserve (VC or VU) offer does not mean a place has been reserved for you. Until
such time as you receive (and accept) a guaranteed offer (GU or GC) from the
Conservatoire, you have not been accepted to study at the Conservatoire.
If you have received a reserve offer, it means that the Conservatoire is not able to
offer you a guaranteed place at the time it makes the offer. A reserve offer merely
indicates that the Conservatoire would like the opportunity to review its offer to you in
the light of acceptances/declines to its guaranteed offers. You will become part of a
pool of reserve candidates and the Conservatoire may choose to make you a
guaranteed offer if a suitable place becomes available. Please note that without a
guaranteed offer, accepted by you through CUKAS, you will not be eligible to
commence studies at the Conservatoire.

34

If you have been given a reserve offer, in order to be considered for a guaranteed
place (should one become available) you will need to accept the offer (and meet any
conditions if applicable).
If you are holding a reserve offer, the Conservatoire can elect to make you a
guaranteed offer at any time during the application cycle. Reserve offers remain
active until the end of August. The decision to wait and see whether a guaranteed
place becomes available, or to accept an offer at another conservatoire is entirely at
your discretion.
Replying to offers
If you have one or more offers and CUKAS has received decisions from all your
conservatoires, they will send you an email asking you to reply to your offers by a
given
date.
You
must
reply
online
via
CUKAS
Track
(http://www.cukas.ac.uk/students/track). Your reply date is also shown on Track. If
you do not reply by the date given, your offers will be declined automatically. The
reply date is your individual reply date so it may be different to other peoples. This is
because it is based on when you received the last decision from your conservatoires.
2014 Entry Reply Dates
Last decision by

Your reply date is

5 January 2014

31 January 2014

5 March 2014

31 March 2014

15 July 2014

30 July 2014

9 August 2014

26 August 2014

After 9 August 2014

30 September 2014

If you make an application through CUKAS, UCAS or GTTR, you cannot hold more
than one confirmed place. A confirmed place in CUKAS is a guaranteed
unconditional offer as your first choice (GU1) and in UCAS and GTTR it is an
unconditional firm (UF) place. If you receive more than one confirmed place, UCAS
will ask you to accept one offer and withdraw from any others.
FEEDBACK TO APPLICANTS
Subject to the provisions of the Conservatoires Data Protection Policy, feedback will
not be provided to applicants regarding the reasons for non-admittance.
APPEALS PROCEDURE
If an applicant considers that the Conservatoire has failed to meet its high standards
in the consideration of her/his application s/he should write to the Conservatoire
Registrar who will investigate the matter and respond to the applicant in writing.
Disagreement with the academic judgement of programme selectors in reaching
their decision based on the aspects of the applicants profile does not constitute
grounds for a complaint by an applicant. Complaints will only be considered in
relation to non-adherence to approved policy and procedure. If it is found that the
outcome of an application was affected by either non-adherence to a policy or
defective procedure, the applicant concerned will be offered a re-audition.
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Students with Disabilities

The Royal Conservatoire of Scotland welcomes applications from all applicants and
has substantial experience in supporting disabled students. Currently, over 15% of
students at the Conservatoire have declared a disability or medical condition.
Applicants who have a disability or special need and would like further information
about facilities and support are invited to contact Jane Balmforth, the Conservatoire
Counsellor and Disability Adviser. Jane contacts all applicants who declare a
disability or medical condition on their application form, and will provide information
about studying at the Conservatoire. If support is required for audition or interview,
we would encourage you to help us to make the necessary arrangements by
contacting by telephone, in writing or by email either Jane Balmforth (email:
[email protected]
phone:
0141
270
8282)
or
Registry
(email:
[email protected]). The Conservatoire Counsellor and Disability Adviser is also
available to meet you when you come for audition/interview to discuss your particular
requirements, sources of further information and any special funding e.g Disabled
Students Allowance. For more information, you can require a copy of the
Conservatoires booklet Information for Disabled Students and Applicants, or
download this from the following website http://www.rcs.ac.uk/studyhere/studentsupport
Equal Opportunities Policy and Statement
The Royal Conservatoire of Scotland welcomes a diverse population of staff and
students. The Conservatoire is committed to promoting equality in its activities and it
aims to provide a performing, learning, teaching, working and research environment
free from unlawful discrimination against applicants, staff and students on the
grounds of age, disability, gender reassignment, marriage and civil partnership,
pregnancy and maternity, race, actual or perceived religious or similar belief, sex and
actual or perceived sexual orientation.
The information you give in response to any questions regarding Equal Opportunities
is required only for statistical purposes, e.g. for monitoring application and admission
rates to programmes and will not be available to programme selectors and will have
no bearing on the admission decision.
Criminal Convictions
1.1 You should not be deterred from applying to the Conservatoire if you have
criminal convictions you will not necessarily be excluded from the selection
process and you will certainly not be automatically excluded. We will though want to
ask you about the nature of any conviction. As part of your application you will be
required to declare where you have any relevant unspent criminal convictions. The
help text in Apply (CUKAS website) will explain what is classed as a relevant
unspent conviction.
1.2 The Assistant Registrar (Admissions) will write to any applicant who has declared
a criminal conviction seeking details of that conviction. The applicant will be asked
to complete a Basic Disclosure Scotland application form at that point.
1.3 Following receipt of the applicants Basic Disclosure, and the further information
received from the applicant, a panel will risk assess the criminal conviction. The
panel will normally consist of the Registrar, the Dean of Drama, the Dean of Music
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and the Assistant Registrar (Admissions). The Vice Principal or the Conservatoire
Secretary may appoint alternative members to such a panel in the event of one or
other of the members being unavailable or otherwise unable to participate.
1.4 The panel will decide whether or not the application should be considered further
in the light of information received regarding the criminal conviction. Each case will
be looked at individually and the circumstances of each case will be considered. It is
not therefore possible to give an answer as to whether any particular type of offence
would result in a decision to reject an application the panel will be guided by
general criteria which will be provided to any applicant involved in this process. In
arriving at its decision, the panel may take legal or other professional advice.
1.5 If the panel decides that the applicant poses an unacceptable risk to the
Conservatoire and is unable to approve further consideration of the application, the
Registrar will write to the applicant accordingly, giving the reasons for that decision.
1.6 The applicant will have the right of appeal against the panels decision to the
Director of Finance and Administration within 28 days of its receipt. Appeals will only
be considered if the applicant provides additional/relevant information or if the
Conservatoire has failed to comply with the procedures set down in this document.
1.7 If the panel decides that the application should be considered further, it will be
dealt with in accordance with the established admissions process. The criminal
conviction will not be referred to again in that process (i.e. the audition/interviewing
panel will not be made aware of it) and therefore it will not influence the outcome of
the application.
1.8 Should an applicant with a declared conviction be offered a place at the
Conservatoire, the panel will be so notified and the panel will consider the
implications of that decision in the context of the Conservatoires duty of care to staff
and students. The panel has the right to determine whether the managers of student
accommodation, the Head of Department/Programme Leader, the Conservatoire
Counsellor or any other relevant member of staff should be made aware of the
applicants criminal conviction. The number of people who would be informed about
the conviction will be limited to those required to ensure the safety of others. The
panel may also attach specific conditions to the offer of place to study at the
Conservatoire, which may involve special arrangements being put in place for the
duration of the students studies.
1.9 Should an applicant fail to disclose a criminal conviction and that omission
comes to light in the course of the admissions process, the applicant will be asked to
explain the failure to disclose by the Registrar or Assistant Registrar (Admissions)
and the outcome of the application may be affected. The matter will be referred to
the panel noted above, which may decide that the application should not be
considered further or it may decide to withdraw any offer made. Should an
undisclosed criminal conviction come to light after the applicant has become a
student of the Conservatoire, the matter will be considered through the
Conservatoires student disciplinary procedure. The outcome of that disciplinary
procedure may include exclusion from the Conservatoire.

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