Meet the Team

Kate Katafiasz

Kate Katatiasz

Kate Katafiasz is Programme Leader for Drama at Newman University, Birmingham, UK.

Originally a school teacher specialising in Drama in Education, Kate obtained her PhD from The University of Reading in 2011. She has subsequently published extensively on Edward Bond’s post-millennial plays, and has developed a particular interest in theorising the relationship between drama and desire. Her teaching and research explores how drama can be used to radicalize the relationship between words and bodies in ancient, educational, and post-structural contexts.

You can get in touch with Kate if you have any questions about studying Drama: k.katafiasz@staff.newman.ac.uk.

Bruce Coates

Bruce Coats

Bruce Coates is a saxophonist who has performed and recorded with some of the world’s top improvisers including Paul Dunmall, John Edwards, Lol Coxhill, Mark Sanders. He is the co-founder of the Birmingham Improviser’s Orchestra (BIO) and the founder of FrImp, a regular meeting of improvising musicians.

Bruce has a BA(Hons) degree in Performing Arts and an MA by Research in Performance Studies, both from DeMontfort University. His academic specialisms are British and American Experimental Music, Improvised Music and Jazz.

You can get in touch with Bruce if you have any questions about studying Drama: b.coates@staff.newman.ac.uk.

In semester 1 for 2022 students will be doing a range of modules, including the brand new module Music Theatres, Modern and Postmodern Drama, and Drama in Education, as well as preparing for the work placement module. We tend to teach by practical workshop in the department rather than by lecturing (although we do deliver the odd power-point). Theory comes from practice in our work, so prepare to be on your feet and active!

Its not really necessary to do anything before you start at Newman. But if you want to get ahead in preparation for Semester 1, you could start thinking about the term ‘Modernism’.

This module looks at the amazing changes that took place in European drama and theatre practices in response to the massive social movement of the late 19th and early to mid 20th century. During this time power was shifting away from monarchs and aristocracies and into the hands of capitalists – business men and factory owners, which brought centuries old traditions and cultural values into question. Dramatists and theatre practitioners responded by challenging the structural rules and conventions of drama in an attempt to adequately reflect and scrutinise the new social realities. We will look at the bizarrely-named phases of the modernist period: Naturalism, Realism, Formalist, Epic, Cruelty, and the Absurd.

Do you know any of these terms? Have a look into any that interest you. The book below (available in our library) will help:

Gale, M. and Deeney, F. Eds (2010), ‘The Routledge drama anthology and sourcebook’, London: Routledge.

Your work should be pleasurable – don’t do it if it doesn’t please/ interest you! We’ll make sure your interest is piqued when we start the course.