SEMESTER ONE

COS7101A COSTUME STUDIO (30 credit points)

This subject introduces students to the skills and knowledge required to produce creative works integral to becoming a costume professional. The learning in this subject forms a foundation that is built upon throughout the course. In order to achieve this students undertake experimentation by dissecting and re-creating costumes through a study of flat pattern making and construction (both contemporary and period) and draping and moulding on the form. The classes utilise a range of methodologies that may be used to satisfy a broad spectrum of performance genres and industry scenarios.

Initial studies are undertaken in the performance characteristics, classification and application of materials that are fundamental to the creation of costume. Students are introduced to research, evaluations and interpretation of information with a view to raising the students’ awareness of the importance of contextualising their work and analysing it within a creative environment.

SEMESTER TWO

COS7101B COSTUME STUDIO (30 credit points)

COS7101B Costume Studio builds upon the learning introduced in the preceding semester but also introduces new areas of exploration. Empirical studies continue in the areas of millinery, flat pattern making and construction, draping and moulding on the form. Within these areas students are now encouraged to begin to form judgments regarding line, form and silhouette. Tailoring techniques are introduced as part of an introduction to an understanding of costuming the male form. Costume Studio COS7101B is designed to contextualise the costume realisation aspects of the course, the study of costume history is introduced and informs all costume learning from this point. It introduces students to the movements and trends in western clothing that inform costume. Studies revolve around the social paradigms and contexts reflected in clothing up to the beginning of the 19th century.

SEMESTER ONE

COS7102A COSTUME INTERDISCIPLINARY COLLABORATION (15 credit points)

In this subject students begin to apply skills learnt in Costume Studio to mount a theatre production framed within professional conditions. Being part of an interdisciplinary team enables them to gain an holistic view of their own roles and responsibilities and those of others within the production process. For the first time students become cognisant of the need to use appropriate communication methods and terminology pertinent to the different stages of the development of a production. As a junior member of a costume team guided by a senior costume student supervisor, they gain empirical experience of the process of realising stage costumes designed by a student designer.
As one of the integral interdisciplinary relationships for the costumier is with the performer, the production process enables the Costume student to learn through an immersive experience backstage encompassing dressing-room etiquette and industry protocol. The students’ Studio work is further contextualised by the realisation of one complete basic costume component and a headwear piece supervised by specialist class tutors.

SEMESTER TWO

COS7102B COSTUME INTERDISCIPLINARY COLLABORATION (15 credit points)

Students join with an interdisciplinary team from within NIDA to stage / mount a new production selected to expand and complement their earlier collaborative experience. Through the choice of a changed work environment the students are able to comprehend the differences resulting from a new venue, production and personnel.
Expanding the experience of production and backstage etiquette, protocols and communication strategies enables the students to identify issues and problems as they arise and contribute at a more in-depth level to the overall production. The developing experience and knowledge founded on their COS7102A Costume Interdisciplinary Collaboration involvement enhances the ability of the student to communicate with the designer, who is their most significant collaborator.
Although students contribute to the costuming of all performers within their assigned production, it is a male performer who is the focus of the making of a completed costume. The tailoring techniques that have been introduced in Studio are utilised for the first time in an holistic manner to tailor a basic garment for a male performer.

SEMESTER ONE 

COM7101A Performance and Ideas (10 credit points)

Subject Purpose
In Semester One of the first year ‘Performance and Ideas’ gives students a theoretical, critical and experiential understanding of key contexts, forms and conventions based on a chronological framework that supports an understanding of the Western theatrical canon. The subject supports student’s abilities to actively relate various historic practices of the Western theatrical canon to their own performance-based disciplines as 21st century artists.

Content
Throughout this subject students will:
Examine a range of historical movements and practitioners in the Western theatrical canon, identifying specific forms, conventions and practices
Develop an understanding of industry practices across a range of performance disciplines relating to various conventions and forms within the canon
Interpret and engage with artistic ideas in both practical and conceptual realisation from the perspective of their specific performance discipline
Explore and reflect on how aspects of a theatrical form and context inform practices in related disciplines.

SEMESTER TWO - COM7101B PERFORMANCE AND IDEAS (10 credit points)

COM7101B Performance and Ideas investigates different performance texts to create an understanding of the development of modernity from the 19th to the 20th century. The course looks at different art forms and looks at movements and ideas that structure contemporary performance practice. We also will make the “now” present through postmodern and contemporary readings and recent productions, specifically focusing on students’ own practice.

COM7101B Performance and Ideas asks three main questions:
* What is modernity?
* What is the drive towards truth or realistic illusion?
* In what ways does this tradition influence our meaning making and our
practice today?

SEMESTER ONE

COM7102A Introduction to Collaboration (5 credit points)

Subject Purpose
The subject introduces the students to the principles of collaboration, which includes defining collaboration and creativity and examining how ethics, values and behaviours of collaboration are generated. Students investigate notions of ownership, agreement, creative conflict and how to generate ideas and create innovative practice. These investigations provide a foundation for creative collaborative projects undertaken in second year and beyond.

Content
Throughout this learning period students will
* Investigate various theories and practices for creative collaboration in the cultural sector
* Apply collaborative practices to the development of new and interdisciplinary work
* Work empathetically, to a shared vision
* Apply discipline expertise to a collaborative project
* Evaluate and reflect on process and performance

SEMESTER TWO

COM7102B Introduction to Collaboration (5 credit points)

COM7102B Introduction to Collaboration builds upon the principles of collaboration, skills and conceptual tasks featured in COM7102A Introduction to Collaboration. In this subject those preparatory tasks are now realised through practice in a Group Collaborative Project.

SEMESTER ONE

COS7201A COSTUME STUDIO (30 credit points)

In Costume Studio 2A students create costumes through a series of projects at a more complex and autonomous level, managing both their own time and project budgets. These scenario-related, problem-solving activities involve the students making decisions by synthesising knowledge and assuming responsibility for their own creative decisions. Students begin to integrate their prior studies and evaluate the appropriateness of skills and techniques to each scenario.
Studies in costume history continue to inform the recreation and interpretation of the students’ work and this is reflected in their assessment tasks that involve evaluating the period work of other creators. The study focuses on 19th and 20th century clothing and includes the examination of original garments and an investigation of the social and psychological elements that moulded what societies wore and how they wore it.
With an increased depth within the study of costume it now becomes necessary to examine the influence of underpinnings on the human form and integrate this understanding into three dimensional experimentation. Students now research and create underpinnings relevant to their project makes and, through a series of tutorial fittings, are encouraged to evaluate the body modifications that they have achieved.

SEMESTER TWO

COS7201B COSTUME STUDIO (30 credit points)

COS7201B Costume Studio expands on the contexts for costume from various forms of live performance previously done to look at the implications of costume for screen and use this knowledge to distinguish between the various applications of costume in film and television. The format of projects in COS7201A Costume Studio continues in this subject with new scenarios for the research and realisation of costumes. These scenarios are chosen so that by the end of their second year Costume students have experienced a broad range of theatrical forms and, through the choice of periods and interpretations, have covered major making challenges and techniques. A series of seminars take place introduced by screen professionals in a range of roles during which case studies are examined and related to the students’ accumulated knowledge. Resources and budget organisation now progress into a more holistic study of costume management. The content of this study informs and influences the experiential learning in COS7202B Costume Interdisciplinary Collaboration which culminates at the end of the semester with the students supervising a production

SEMESTER ONE

COS7202A COSTUME INTERDISCIPLINARY COLLABORATION (15 credit points)

In making a fully tailored and more advanced male garment for performance, students expand the depth of their collaboration with the designer and performer. Students consult with designers on details of the design and performance requirements of the costume. They discuss and advise the design students as to the appropriate fabrics and construction techniques to be used to make the costume.
With input from the designer, performer and stage management, students problem-solve issues that arise from the making and rehearsal process. They begin to form independent judgements on scale, proportion, line and detail for the male form in performance.
New and non-traditional materials and techniques are harnessed for use in a project responding to issues of scale and visual impact when making for sizeable venues that differ from the NIDA experience. Experts in fields of the arts external to NIDA, are brought in to augment the students’ understanding of the possibilities of collaboration within the wider arts environment.

SEMESTER TWO

COS7202B COSTUME INTERDISCIPLINARY COLLABORATION (15 credit points)

In making a more complex female garment for performance, students expand the depth of their collaboration with the designer and performer. Students consult with designers on details of the design and performance requirements of the costume including the desired effect to be achieved by underpinnings. They discuss and advise the design students as to the appropriate fabrics and construction techniques to be used in the making of the costume. With input from the designer, performer and stage management, student’s problem-solve issues that arise from the making and rehearsal process. They begin to form independent judgements on scale, proportion, line and detail for the female form in performance. For the first time Costume students have the sole responsibility to translate a designer’s concept into a complete set of costumes for a production. Following theoretical classes and industry case-studies in COS7102B Costume Studio, students’ progress to comprehending more clearly the complexity and responsibilities involved in working with directors, performers, designers, production and stage managers at a management level.

SEMESTER ONE

COM7201A Performance and Ideas (10 credit points)

Subject Purpose
Semester One of the second year of ‘Performance and Ideas’ builds on students’ theoretical, critical and experiential understandings of key contexts, forms and conventions of the Western theatrical canon and the various social, intercultural and political influences that shaped it in the mid to late 20th and early 21st century.
Building on COM7101A & COM7101B, it supports students’ ability to actively relate these various historic practices to their own performance-based disciplines as 21st century artists.

Content
Throughout this subject students will:
Synthesise their understanding of the relationship, correspondence and variance of different forms of theatrical and screen storytelling
Develop an understanding of industry practices across a range of performance disciplines relating to various conventions and forms of the 20th and 21st centuries
Interpret and engage with artistic ideas in both practical and conceptual realisation from the perspective of their specific performance discipline
Examine a range of ideological, theoretical and practical frameworks through which contemporary performance can be understood.

SEMESTER TWO

COM7201B Performance and Ideas (10 credit points)

COM7101B Contemporary Issues in Performing Arts asks four main questions:
What is the contemporary? What is the “now” and how do we theorise the present?
What is the response of the theatre to pressing issues of the day?
What is performance practice’s role in contemporary society?
What are alternative modes of contemporary performing arts?

Equally this subject investigates broader questions:
What is the role of performance practice in social and political questions?
We will look at a range of contemporary debates of the theatre that are pressing to the art form now.
How do we address futures thinking and predictive scenario development for imagined constructs?

SEMESTER ONE

COM7203A Student-Led Projects (5 credit points)

Subject Purpose
Student-led Projects is a common subject across all disciplines involving second-year students in which each team shapes an artistic vision for presentation drawing on the individual strengths, knowledge and ability of each member to problem-solve in the development and realization of the collaborative endeavour.

Content
Throughout this learning period students will:
Apply collaborative practices to the development of new and interdisciplinary work
Work empathetically, to a shared vision
Apply discipline expertise to a collective project 
Evaluate and reflect on process and performance

SEMESTER TWO

COM7203B Student-Led Projects (5 credit points)

COM7203A Student-led Projects and COM7203B Student-led Projects derive from the theoretical and methodological frameworks explored in COM7102 Introduction to Collaboration. Student-led Projects is a common subject across all disciplines involving second-year students from every discipline. Students self-select their collaborative teams and are encouraged to achieve cross cohort representation. Together each team shapes an idea for presentation drawing on the individual strengths, knowledge and ability of each member to problem-solve in the development and realization of the collaborative endeavour. Collaborative groups request input from staff or external mentors as or when it is required. Co- ordination of this subject and trouble shooting is provided by the subject coordinator with assistance from a designated point of contact from each discipline within NIDA. In COM7203B Student-led Projects students build on the collaborative practice project established in COM7203A Student-led Projects by bringing the project to realization. Students present their work in this semester and finalise their peer review through group evaluation.

SEMESTER ONE

COS7301A COSTUME STUDIO (15 credit points)

The students’ journeys of discovery continue with Costume Studio 3A in which students develop and establish the framework for a substantial, mentored research project. The underlying pedagogical philosophy of Costume Studio 3A is that summative learning is best achieved by cumulative and problem-solving experiences. This project entails a self-initiated interrogation propelled by the individual students. It enables the students to investigate in depth an aspect of costume or clothing about which they wish to test a hypothesis or gain a greater understanding. At this point in the course students use their judgment to evaluate the appropriate skills, methodologies and techniques to progress towards their research outcome. Progress is monitored by the Head of Course and relevant mentors but students meet together throughout the process to interrogate and discuss their discoveries and progress.

SEMESTER TWO

COS7301B COSTUME STUDIO (15 credit points)

COS7301B Costume Studio is the culminating work and presentation for Costume Studies a tNIDA. Costume Studio COS7301B continues the research and experimentation that begins with Costume Studio COS7301A continues until half way through the semester when the research project (a synthesis of research, practice and process) is presented publicly. It can be delivered as a dissertation, presented as a creative work or a combination of both. The documentation of the process forms part of the presentation as does the form and manner of presentation. As students of a storytelling medium, the students must present their research and conclusions in an engaging and informative manner.

SEMESTER ONE

COS7302A COSTUME INTERDISCIPLINARY COLLABORATION (30 credit points)

Students take on the leadership role of costume supervisor for a main-stage production, synthesising accumulated managerial, technical and creative learning. The students engage with other departments in the full production process from initial design consultations through the planning, construction and rehearsal process to technical and dress rehearsals, performances and bump-outs. Oversight of the process includes guidance and supervision of less experienced crew from their own and other courses. At this stage of their learning students bring a high level of autonomous thought and planning to the realisation of costumes for a production. Through a process of distinguishing the efficacy of making, buying or sourcing the costumes, students identify a costume that would present a suitable challenge for them to make. Students co-curate an exhibition or installation within the NIDA environment or extend their collaboration beyond NIDA’s venues and personnel. Students have the opportunity to liaise with external stakeholders to conceptualise, progress and fulfil the brief for the exhibition or installation.

SEMESTER TWO

COS7302B COSTUME INTERDISCIPLINARY COLLABORATION (30 credit points)

In COS7302B Costume Interdisciplinary Collaboration students use their insights into the world of costume to identify the direction of their potential career path and decide a direction to pursue within the collaborative process. They may choose to supervise a large-scale production with new and differing challenges and personnel or undertake to construct significant male and female costumes, identifying areas not previously addressed within their collaborative experience.
In Costume Interdisciplinary Collaboration COS7302B students investigate specialist costumes that could include extreme body shaping, non-traditional costume materials or techniques, costume-props and traditional dancewear such as leotards. This project enables students to interface with a diverse portfolio of stakeholders to understand the varying needs of specialist performance.

SEMESTER ONE

COS7303A COSTUME PROFESSIONAL PRACTICE (15 credit points)

This purpose of this subject is twofold: firstly, it instills students with the non-discipline specific skills and knowledge they will require to successfully pursue careers within a professional artistic environment; secondly, it commences the introduction and integration of the students into professional industries, networks and communities.
This purpose is achieved through a combination of formal information sessions and forums, as well as through experiential and immersive learning opportunities within the industry under professional guidance. These approaches coalesce in the inculcating of practical skills and knowledge, whilst also providing students with a broader contextualisation, understanding and experience of the industry.

SEMESTER TWO

COS7303B COSTUME PROFESSIONAL PRACTICE (15 credit points)

In COS7303B Costume Professional Practice students continue their integration into professional industries, networks and communities in an environment chosen to expand on their previous experience within the profession.
This semester students complete the non-discipline specific skills and knowledge they will require to successfully pursue careers within a professional artistic environment. The outcome is achieved through a combination of formal information sessions and forums, as well as through an experiential and immersive learning opportunity within the industry under professional guidance. These approaches coalesce in the inculcating of practical skills and knowledge, whilst also providing students with a broader contextualisation, understanding and experience of the industry

NIDA uses direct application to the provider via the NIDA website.

Interview dates for the 2023 intake will be announced after applications open.

PREPARE FOR YOUR INTERVIEW

The application process for Bachelor of Fine Arts (Costume) consists of two rounds:

• Round One - Online application and submission of Garment and Portfolio
• Round Two - Online Written Response and Interview

Only applicants who are successful in Round One will be invited to complete the online written response and attend an interview (via Zoom).

The following should be prepared in advance to be discussed at your interview:

1. DIGITAL PORTFOLIO

• Your portfolio may include photographic or video examples of your best art/craft/sewing and costume-related work; documentation of the development process of some items; and documentation of the inside of finished garments would be appreciated too.

2. GARMENT PROJECT

Make a garment for yourself, a friend or family member using one of the following commercial patterns OR a pattern you have of your own that includes a collar and set-in sleeve:

• Simplicity 1039 Men’s Cosplay Costumes (jacket only) - purchase pattern online
• Plumetis Blouse 110 | Burda Style 02/02 - purchase pattern online
• Cotton Shirt 145 – 06/16 - purchase pattern online
• Simplicity Sewing Pattern S9086 Misses' Steampunk Costume Coats - purchase pattern online

Please contact NIDA if you are having difficulty obtaining a pattern.

• Make the pattern as it exists - please do not alter the basic pattern unless it is for the purpose of a better fit. You may use any fabric or combination of fabrics, decoration and finish that you wish.
• Please do not spend a great deal of money on your materials – we will be looking at your creativity and technical skills rather than the value of the materials themselves. Interpret the design in any way that you wish within the limits of the given shape.
• Photograph the garment being worn by the person for whom it was made; styling is encouraged.

3. WRITTEN  RESPONSE

• You will be asked to write a short response to images of a costume provided through a link, which will be emailed to you after applications have closed. We ask that you complete this at a time of your convenience before your interview.

The garment project is an important point of discussion at your interview. NIDA is, of course, particularly interested in viewing the finished quality of what you present, but remember, skills can be developed by practice and guidance and NIDA will provide these if your application is successful.

For your interview, please have a couple of other examples of your work to discuss. Send the garment project and a USB of your digital portfolio to arrive at NIDA in advance of your interview.

Send the garment project and a USB of your digital portfolio to arrive at NIDA in advance of your interview to:

The Costume Department
NIDA
215 Anzac Parade
Kensington, NSW Australia 2033

ON THE INTERVIEW DAY

Each applicant will be interviewed for around 30 minutes. During the interview, we will discuss your garment project, your portfolio and costume related work. We will discuss these with you to learn more about your background, abilities, interests, aspirations, and why you wish to study costume at NIDA.

THINGS TO NOTE

NIDA recognises that interviews can be stressful, but every effort will be made to ensure your experience will be as relaxing and enjoyable as possible. Remember, the more time and effort you put into the project in advance, the better prepared you will be and the more you will benefit from the interview and discussion.

NIDA will post your garment back to you after we have completed our selection.

The interview process is friendly, informal and open, and is designed to give you the very best opportunity to indicate your potential and readiness to study at NIDA. However, should you have any concerns with the interview process or with what is said to you during the course of the interview, please express your concern immediately, or talk it over with a member of the interview panel before you leave.

• Preparation! The more time and effort you put into the projects and interview preparation in advance, the more confident you’ll be and the more you will benefit from the interview and discussion.
• Come with a clear idea of why you want to study Costume at NIDA.
• We know that interviews can be stressful, but every effort will be made to ensure your experience will be as interesting and enjoyable as possible. The interview is designed to give you the very best opportunity to show your potential and readiness to study at NIDA.

NIDA does not require students to have studied any particular subjects at school. However, it is beneficial during their period of study at NIDA for students to have a high level of literacy and to have read widely. A strong working knowledge of subjects such as English and History is helpful to provide an understanding of historical context and literary references in theatre and literature. It is helpful to have an understanding of drama and, if possible, to have attended a range of theatre and films. Applicants for some courses often study Design and Technology, Textiles and Design, or similar subjects such as Art. Knowledge of a language other than English and understanding of other cultures is also beneficial. 

For courses such as Properties and Objects, Staging, Design for Performance, and Technical Theatre and Stage Management there is a need to have some numeracy and basic computing skills. For the Staging and Properties and Objects courses there is a need to be comfortable with basic applied algebra, geometry and physical concepts but memorisation is not required and use of these concepts is very practically focused. 

The minimum age for entry into NIDA’s full-time courses is 18 years. Students are expected to be at least 18 years of age at the commencement of their first year, or within a few months of commencement. In exceptional circumstances this condition may be waived. Applicants must be at least 17 years of age at the time of their audition or interview.

Applications from those 16 years and younger will not be accepted.

There is no maximum age restriction. As a guide to the age distribution at NIDA, the ages of students in undergraduate courses at the start of 2016 ranged from 17 years to early 30s, with the average age being 21.

The average age in the Master of Fine Arts courses is 32, with an age range from early 20s to mid-40s.

Application to NIDA is by direct entry. Applicants apply online via the NIDA website.

NIDA will accept applications for the 2022 intake from 1 June to 29 October 2021.

You must then prepare for your audition or interview, the details of which can be found on the course pages.

Students are at NIDA from 9am to 6pm from Monday to Friday. During production terms students may also be required for rehearsals after hours and on weekends.

Additional time also needs to be allocated to library work, research, preparation for classes and private study. For this reason it is difficult for NIDA students to maintain regular part-time jobs. Studying at NIDA is a big commitment so students need to manage their time and resources carefully.

NIDA offers a conservatoire based method of education and training based around intensive practice-based learning.

There is formal class work, practical instruction, lectures and, for some courses, periods of placements in the arts industry. Each course has dedicated time to discipline-specific immersion, as well as common subjects undertaken by students of all disciplines.

NIDA Play Productions and screen work provides practical learning experiences, giving students the opportunity to apply learnt technical skills. Play productions are an important part of NIDA’s higher education courses with usually five productions being produced each semester.

More detailed information about course structure can be found on the individual course pages. 

NIDA’s award winning campus includes a range of facilities available to students:

• the Parade Theatre, seating over 700 people, is equipped with advanced technology in sound, lighting and scenery
• performance spaces of varying sizes. The Parade Studio, Parade Playhouse, Parade Space and Atrium are also utilised for productions
• the state-of-the-art Reg Grundy Studio is used for film and television recording
• the Rodney Seaborn Library, specialising in the performing arts
• computer-aided design (CAD) and multimedia studios
• rehearsal rooms, teaching spaces and music practice rooms
• and workshops for the manufacture of scenery, properties and costumes.

Due to the highly competitive nature of NIDA’s admissions process, you must enrol for the year for which you have been offered a place. You cannot defer acceptance of a place. If you want to enrol in a subsequent year, you will need to apply again the following year and go through the audition/interview process again. There is no guarantee that you will be offered a place next time.

A first year student who discontinues a course of study during the year and wishes to return the following year, must re-apply for admission to NIDA in the normal manner. There is no guarantee of re-admission.

Application for leave of absence by continuing students must be made in writing with reasons to the Head of Course for consideration and recommendation to the Director. Approval for leave of absence can only be granted by the Director/CEO. It should be noted that approval for leave of absence will only be granted under exceptional circumstances.

See NIDA Student Policies for more information. 

There is an optional annual fee of $40 to join the Student Council of NIDA (SCON).While students are provided with the script of any plays they are involved in as part of the NIDA Production Program, students are encouraged to purchase other scripts and textbooks for subjects such as Performance and Ideas.

Acting students must wear “blacks” to class everyday i.e. leotards, jogging pants, sweat pants, simple black tops or T-shirts, so students need to make sure they have at least a couple of sets of blacks to get themselves through the week. Acting students must also supply their own make-up and soft black shoes.

Scenic Construction and Technologies, Design for Performance, Costume, Properties and Objects, Technical Theatre and Stage Management students are required to purchase specific tools and equipment, which should be considered as lifelong investments. Students using workshop spaces are also required to have closed-toe protective footwear. Technical Theatre and Stage Management students should also have a few sets of “blacks” for working on productions.

Design for Performance students are also expected to purchase their own art equipment, drawing paper, cardboard and other material for models and should allow around $1000 for this each year.

To access NIDA wireless (iWIRE) network, students are required to have access to a Laptop (Windows 7 and later), Macbook (Mac OS X 10.6 Snow Leopard or later) or a Tablet (less than three years old with wireless facility). All the devices should comply with 802.11a/b/g/n WPA-Enterprise security.

For file transfers and data backup, a 500GB hard drive or higher and an 8GB USB stick are also recommended, as is a DVD burner, for optimum visual graphics on your computer(Laptop/MacBook/Desktop etc..) a 1GB dedicated graphics card is recommended but not compulsory.

For a full list of additional costs by course please refer to the NIDA Domestic Undergraduate Student Fees Schedule 2022.