NIDA acknowledges the Traditional Owners and Custodians of the sacred lands, from the mountains to the sea, on which we learn and tell stories.

The lands of the Bidjigal, Gadigal, Dharawal and Dharug peoples. We pay our respects to all Aboriginal and Torres Strait Islander Elders past and present.

BFA (Design for Performance)

CRICOS CODE 083699F

Applications for 2023 are now closed. Applications for 2024 intake will open in June 2023.
More information on 2024 courses register your interest below

Register Interest

If you require assistance, please contact applications@nida.edu.au.

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NIDA encourages applications from students from diverse backgrounds, with different levels of experience in theatre, film, television or other areas.

NIDA welcomes Aboriginal and Torres Strait Islander applicants.

About the course

This immersive design course focuses on both stage and screen design.

You will learn set design, costume design, props and lighting design for live and film productions. With small groups and high levels of individual tuition you will develop your design skills in professional student studios, theatres and workshops. You will learn through practice-based learning and intellectual enquiry.

This design course will equip you with technical skills such as rendering, virtual visualisation techniques, manual drafting, computer-aided drafting, drawing and pre-visualisation. You will extend your creative tool-kit by investigating the social, historical and cultural contexts of contemporary performance, design, architecture, fashion and art.

Throughout your degree, you will take your skills from the studio all the way to a final completed work, applying learning as a key member of an extensive creative and collaborative team. You will create designs for live productions, short films, music videos, devised works, installations and industry collaborations.

In your final year, you will be placed with a design professional and professional arts company. You will leave NIDA with a robust skillset, valuable industry connections and confidence about your future in stage and screen design.

This qualification is recognised in the Australian Qualifications Framework

The Australian Qualifications Framework (AQF) is the national policy for regulated qualifications in Australian education and training.

Read more information about the AQF.

Course Dates and Times

Course duration and contact hours

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. 

All NIDA Bachelor of Fine Arts degrees are three-year full-time courses. All NIDA Master of Fine Arts courses, except for Cultural Leadership, are 15-month full-time courses. 

2023 course dates

Semester 1 – 30 Jan 2023 – 23 June 2023

BFA Term 1 – Monday 30 Jan – Thursday 6 April

BFA Census Date 1 – 27 February 2023

BFA Term 2 – Monday 24 April – Friday 23 June

Semester 2 – 17 July 2023 – 15 December 2023

BFA Term 3 – Monday 17 July – Friday 1 September

BFA Census Date 2 - 14 August 2023

BFA Term 4 – Monday 11 September – Friday 15 December

2022 course dates

Semester 1 – 31 Jan 2022 – 24 June 2022

BFA Term 1 – Monday 31 Jan – Friday 8 April

BFA Term 2 – Tuesday 26 April – Friday 24 June

Semester 2 – 18 July 2022 – 16 December 2022

BFA Term 3 – Monday 18 July – Friday 2 September

BFA Term 4 – Monday 12 September  – Friday 16 December

Subjects

First year

First year at a glance

In brief
  • Studio (design)
  • Model making
  • Manual drafting
  • Computer-aided drafting (CAD)
  • Rendering
  • Drawing
  • History of Architecture
  • History of Costume
  • Dramaturgy
  • Performance History
  • Arts and Ideas
Delivery mode
  • Classes
  • Studio work
  • Participating in NIDA productions

Design for Performance Practice

SEMESTER ONE

DFP7101A Design for Performance Practice A (20 credit points)

Subject Purpose
DFP7101A Design for Performance Practice 1A introduces students to the fundamental philosophies and practices required by Designers for Performance: to interrogate and contexualise design problems, to determine and develop creative solutions and to communicate outcomes with clarity. Students study a variety of design approaches in focused project-based classes; Realism; Costume Design; Design Research; and Design, Architecture, Performance Fashion and Art (DAPFA). Designing within a studio environment encourages a continuum of peer/teacher review.

Content
Through design classes, exercises and projects, students analyse a series of given design briefs and apply creative exploration, experimentation and problem solving to arrive at design solutions. Students apply text, design and performance analysis theories and concepts to their design research and development. As the projects evolve, students learn to evaluate, edit and revise their design choices, developments, communications and solutions. Through Design, Architecture, Performance Fashion and Art (DAPFA) projects, students investigate the social, historical and socio-cultural contexts of costume and scenography that inform design for performance practice, including: text analysis, performance analysis, space, light and character exploration, and their relationship to broader arts and design influences. Dramaturgical enquiry is a major component of these explorations and involves dramaturgical analysis of the text, space, light, character and performance in relation to making meaning in performance.

SEMESTER TWO

DFP7101B Design for Performance Practice B (20 credit points)

Subject Purpose
DFP7101B Design for Performance Practice 1B advances students’ knowledge and understanding of the philosophies and practices required by performance-designers, and supports their capacity to interrogate and contexualise design problems, to determine and develop creative design solutions and to communicate outcomes with clarity and accuracy. Students study a variety of design approaches in focused project-based classes: Stylisation; Costume/Prop Design; Design, Architecture, Performance, Fashion and Art (DAPFA), and design research, theories and contexts. Completed design projects are subject to a formative critique by peers and teachers.

Content
Through design classes, exercises and projects, students analyse a series of given design briefs and apply creative exploration, experimentation and problem solving to arrive at design solutions. Students apply text, design and performance analysis theories and concepts to design research and development. As the projects evolve, students learn to evaluate, edit and revise their choices, developments, communications and solutions. Through these projects, students investigate the social, historical and cultural contexts of costume and scenography that inform design for performance practice, including: text analysis, performance analysis, dramaturgical enquiry, space, light and character exploration, noting their relationship to broader arts and their influence on ‘meaning-making’ in performance.

Design for Performance Techniques

SEMESTER ONE

DFP7102A Design for Performance Techniques A (15 credit points)

Subject Purpose
DFP7102A Design for Performance Techniques 1A introduces students to the fundamental skills, techniques and practices required by performance-designers in order to define and develop creative solutions and to communicate outcomes with clarity at all stages of design development. Students study the use of technical and visual communication skills through classes in Drawing & Rendering, Technical Drawing, Model Making and Colour Theory and Lighting and Scenic Art.

Content
Through skills training, exercises and projects, students learn, test and practise a wide range of design skills and techniques, and employ them in the exploration and communication of complex design solutions. These focused, skills-based topics are applied within the context of design development in a Realism and Costume Design project. Designing within a studio environment encourages a continuum of peer review. Completed design projects are presented to the group and subject to a formative critique by peers and tutors.

SEMESTER TWO

DFP7102B Design for Performance Techniques B (15 credit points)

Subject Purpose
DFP7102B Design for Performance Techniques B further develops the skills, techniques and practices required by performance-designers in order to define and develop creative solutions and to communicate outcomes with clarity at all stages of design development. Students study the use of technical and visual communication skills through classes in Drawing & Rendering, Technical Drawing, Model Making and Colour Theory and Lighting, and Art Finishing.

Content
Through skills training, exercises and projects, students learn, test and practice a wide range of design skills and techniques, and employ them in the exploration and communication of design solutions. These focused, skills-based subjects are applied within the context of design development projects. Designing within a studio environment encourages a continuum of peer review. Completed design projects are presented to the group and subject to a formative critique by peers and tutors.

Design for Performance Interdisciplinary Collaboration

SEMESTER ONE

DFP7103A Design for Performance Interdisciplinary Collaboration (10 credit points)

Subject Purpose
DFP7103A Design for Performance Interdisciplinary Collaboration A introduces students to the fundamental collaboration techniques and practices required by performance-designers through engagement with the fabrication process in production workshops and in rehearsals, and by taking on crew roles as part of a team in the NIDA Play Production program.

Content 
Through engagement with the realisation of productions, students are able to reflect on the nature of their contribution to a collaborative art form and the specific focus and roles each of the disciplines bring to this collaboration. Design students gain practical experience through assignments such as Set/Props or Costume Design Assistant on a Play Production Program production. Students collaborate on the realisation of a design element/s under the supervision of the Designer and Department course leaders, and then take on a live performance crew role through technical rehearsals and the season of the production.

SEMESTER TWO

DFP7103B Design for Performance Interdisciplinary Collaboration B (10 credit points)

Subject Purpose
DFP7103B Design for Performance Interdisciplinary Collaboration B identifies and develops the collaboration techniques and practices required by performance-designers through engagement with the fabrication process in production workshops and in rehearsals, and continues their learning by taking on specific crewing roles as part of a team in the NIDA Play Production program. Design students are assigned to work as a Set/Props or Costume Design Assistant on a Play Production Program production.

Content 
Building on their learning from the previous subject, and through further engagement with the realisation of productions, students are able to reflect on the nature of their contribution to a collaborative art form and the specific focus and roles each of the disciplines bring to this collaboration. Students collaborate on the realisation of a design element/s under the supervision of the Designer and Department course leaders, and then take on a live performance crew role through technical rehearsals and the season of the production.

Performance and Ideas

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?

Introduction to Collaboration

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.

Second year

Second year at a glance

In brief

You will:

  • work collaboratively with students from the directing course
  • continue working on set, costume and lighting designs
  • be introduced to film and events design
Delivery mode
  • Classes
  • Studio work
  • Participating in NIDA film projects

Design for Performance Practice

SEMESTER ONE

DFP7201A Design for Performance Practice A (20 credit points)

Subject Purpose
DFP7201A Design for Performance Practice A is the primary design subject for set, costume and lighting oriented design disciplines in the BFA course. It consolidates skills and knowledge development in design for performance, applying these skills with increasing complexity of design thinking to concept development and decision-making and problem-solving processes in diverse theatre forms, while collaborating with either student or guest directors. Students’ learning is consolidated through two projects: a Multi-Scene Set and Costume Design project, and a Hybrid Costume Design.

Content
Through design classes, exercises and projects, students analyse a series of given design briefs and apply an increasingly advanced creative exploration, experimentation and problem solving to arrive at effective design solutions. Students apply text, design and performance analysis theories and concepts to design research and development. As the projects evolve, students learn to evaluate, revise and develop their design choices, developments, solutions and communications strategies. In collaboration with a director students will examine and explore design methodologies and apply these methodologies to the design of a fully realised production. Dramaturgical enquiry is a major component of these projects, and involves effective and detailed scenographic analysis of the text, space, light, character and performance in relation to making meaning in performance. These projects are supported by examinations of Design, Architecture, Performance Fashion, and Art (DAPFA) research, theories and contexts. Through DAPFA classes students investigate the social, historical and cultural contexts of scenography that inform design for performance practice, including text analysis, performance analysis, space, light and character exploration, and its relationship to broader arts, architectural, fashion and design influences. Designing within a studio environment encourages a continuum of peer/teacher review. Completed design projects are presented to the group and subject to a formative critique by peers and teachers.

SEMESTER TWO

DFP7201B Design for Performance Practice B (20 credit points)

Subject Purpose
DFP7201B Design for Performance Practice B consolidates skills and knowledge development in design for performance, applying these skills with increasing complexity of design thinking to concept development and decision-making and problem-solving processes, while collaborating with either student or guest directors in two distinct projects, Open Text Drama and Music Theatre. Dramaturgical enquiry is a major component of these explorations and involves scenographic analysis of the text, space, light, character and performance in relation to making meaning in performance.

Content 
Through design classes, exercises and projects, students continue to analyse a series of given design texts and briefs and apply creative exploration, experimentation and problem solving to arrive at effective design solutions. Students apply text, design and performance analysis theories and concepts to complex design research and development. As the projects evolve, students learn to evaluate, revise and develop their design choices, developments, communications and solutions. In collaboration with a director students will examine and explore design methodologies and apply these methodologies to the design of a fully realised production. The primary relationship between director and designer is explored through project-based conceptual design exercises that increase in complexity. Collaborative problem solving is at the forefront of these design investigations where a design proposal is generated through discussion and mutual agreement. The resulting concept is then tested through the use of sketch and scale models and design renderings. Designing within a studio environment encourages a continuum of peer/teacher review. On each project the creative teams of director, set and costume designer (and lighting designer when available) present the results of their collaboration and conceptual development to their peers and tutors in a formal presentation.

Design for Performance Techniques

SEMESTER ONE

DFP7202A Design for Performance Techniques A (15 credit points)

Subject Purpose
DFP7202A Design for Performance Techniques 2A continues to develop and consolidate fundamental skills, techniques and practices required by performance-designers to define and develop creative solutions and to communicate outcomes with clarity at all stages of design development.

Content
Continuing from Design for Performance Techniques developed in Year 1, design students develop new skills and consolidate technical and creative communication skills already acquired, and apply these more sophisticated and accomplished techniques to their Design Practice projects. As the projects evolve, students learn, test and practise a wide range of tools and techniques to explore and communicate their design vision. Students will develop materials for a hypothetical production including: set references, sketch and finished scale model/s, scenic lists, floorplan, section and technical drawings, costume references, drawings, costume lists and full colour costume renderings, properties references, drawings, full colour and technical properties drawings, or lighting references, visualisations, lighting concepts explored on the set models. They will determine the parameters of the project, and plan appropriate design communications from design development through to design delivery. Students will also learn to respect and work to materials and labour budget parameters and deliver to established design deadlines.
Students study the use of technical and visual communication skills through classes in Drawing, Model Making Techniques – Sketch to Final, Drafting (AutoCAD and Vectorworks), Digital Drawing (Photoshop and Illustrator) and Lighting Exercises. These focused, skills-based subjects are applied within the context of design development on industry-focused projects.

SEMESTER TWO

DFP7202B Design for Performance Techniques B (15 credit points)

Subject Purpose
DFP7202B Design for Performance Techniques 2B further consolidates and develops skills, techniques and practices required by performance-designers to define and develop creative solutions and to communicate outcomes with clarity at all stages of design development.

Content
Continuing from techniques developed in Year 1, design students learn new and more complex skills, and consolidate technical and creative communication skills already acquired, and apply these more sophisticated and accomplished techniques to their Design Practice projects. As the projects evolve, students learn, test and practise a wide range of tools and techniques to explore and communicate their design vision. These communication skills are applied to projects running in tandem, including Music Theatre and Open Text. Students study the use of technical and visual communication skills through classes in Drawing Model Making Techniques – Sketch to Final, (Drafting (AutoCAD and Vectorworks), Digital Drawing (Photoshop and Illustrator) and Lighting Exercise. These focused, skills-based subjects are applied within the context of design development on DFP Practice B projects.

Design for Performance Interdisciplinary Collaboration

SEMESTER ONE

DFP7203A Design for Performance Interdisciplinary Collaboration A (10 credit points)

Subject Purpose
DFP7202A Interdisciplinary Collaboration A is focused on design elements and theories relating to design for the screen. It comprises of three projects which lead the students to a working knowledge of mise-en-scène and screen language through the study of film genres and the elements in set and costume design, cinematography, post production and animation techniques, and from the birth of cinema to the present day.

Content
Through the intense collaborative realisation of screen projects and productions, and the study of cinematic genres and the elements of mise-en-scène, students will develop an understanding of the key creative parameters of a screen production. They will continue to develop dexterity in crew roles and relationships and will practice in art department on a short form screen production, including working as art director under the leadership of a D3 student production designer. Students will analyse, break down, and design screen scripts using storyboards and other already-established visual communication techniques to communicate their design intention to all stakeholders, will prepare and manage art department budgets and schedules, and will work in art department crew roles in preproduction and shoot. Students will articulate an understanding of screen design methodologies and reflect on how these compare to other forms of performance design. Assessable projects are highly collaborative, and include a hypothetical screen design project (Screen Design), a team-based design project (Art Direction) and a theory and analysis subject (Mise-en-Scène).

DFP7203B Design for Performance Interdisciplinary Collaboration A (10 credit points)

Subject Purpose
DFP7203B Interdisciplinary Collaboration B is comprised of a significant team-based project in which second year design students work as Art Directors to a third year designer (Production Designer) in the realisation of a screen project. Founded on learning in the previous subject, students will complete the realisation of a significant screen design production that is intensely collaborative across disciplines.

Content
Through the intense collaborative realisation of screen and live performance productions students will practice their understanding of the roles, responsibilities, processes, management and effective realisation of the design. They will take instruction from the student designer, undertake script analysis and research, prepare design visualisations, prepare and manage art department and design budgets and schedules, perform on-set and backstage technical and crew roles, collaborate and communicate with all stakeholders, and source, build and coordinate design elements towards effective realisation of the design.

Performance and Ideas

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?

Student-led Projects

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.

Third year

Third year at a glance

In brief
  • Work collaboratively with students from the directing course
  • Work collaboratively with technical students on lighting and video projects
  • Design for film in industry music videos and short film projects
  • Design for graduate director play productions and the NIDA graduate exhibition
Delivery mode
  • Classes
  • Studio work
  • Liaising with industry professionals
  • Participating in NIDA films, events and productions

Design for Performance Practice

SEMESTER ONE

DFP7301A Design for Performance Practice A (30 credit points)

Subject Purpose
DFP7301A Design for Performance Practice 3A consolidates concept development, decision-making and problem-solving skills and knowledge development in design for performance, with a progressive shift of emphasis to effective collaboration on devised staged productions. The subject is the primary design and concept development subject for set, costume and lighting oriented design disciplines in the BFA course.

Content
Throughout this learning period students will examine and explore alternate design methodologies, and apply these to the design of fully-realised devised productions. They will analyse and interpret the text and context, and work with collaborators to explore design concepts, and create visualisations. Utilising a range of analogue and digital visualisation techniques to accomplish diverse design communications, students investigate script analysis, concept creation and visualisation of sets, costumes, lighting and video designs. They will develop specialist expertise in a discipline-specific context, and undertake critical evaluation and reflection of the work of self and that of others. Exhibition designers work as a team to design and fully realise an exhibition, either as a collective design exhibition, or a broader exhibition of selected NIDA student work, displaying multi- course content. This subject is the primary design and concept development subject for set, costume and lighting oriented design disciplines in the BFA course. The subject supports two projects; Devised Work 1: Set, Costume, Lighting, Projection and Video – collaboration with BFA TTSM) and Devised Work 2: Set, Costume, Makeup – collaboration with MFA Directors and VET Makeup.

SEMESTER TWO

DFP7301B Design for Performance Practice B (30 credit points)

Subject Purpose
DFP7301B Design for Performance Practice B extends design concept development, decision-making and problem-solving skills and knowledge development in the realisation of live productions. The first - Directors’ Designers’ Graduation Productions (DDGP) focuses on the effective collaboration within a fully-staged work directed by a student or guest director. Each creative team also collaborates with other teams to present the production as part of a collection of short plays in a season in a shared space.

Content
Throughout this learning period students will examine, explore and extend the use of design methodologies and apply these to the design of fully-realised production/s. Through analysis and development of the text and context, they will work with collaborators, exploring design concepts and creating visualisations as part of design development. Students will utilise a variety of visualisation and documentation techniques to accomplish a range of diverse communications appropriate for live performance, installation and exhibition design. Further, they will collaborate and communicate with all stake-holders in performance and exhibition making throughout design realisation. Developing specialist expertise in a range of discipline-specific contexts, they undertake critical evaluation, analysis and reflection of the work of self and that of others. In this subject, students develop their ability to work successfully as part of an individual creative team as well as their ability to collaborate and negotiate as part of a collective. This subject is the primary design and concept development subject for set, costume and lighting oriented design disciplines in the BFA course.

Design for Performance Techniques

SEMESTER ONE

DFP7302A Design for Performance Techniques A (10 credit points)

Subject Purpose
DFP7302A Design for Performance Techniques 3A develops technical proficiency in essential skills for design for performance. The aim is for the student to reach a professional standard in all aspects of their design communication skills from early design development, design delivery to design realisation on two devised works in Semester 1. This subject is the primary studio skills subject for set, costume and lighting oriented design disciplines in the BFA course and works in tandem with DFP7301A Design for Performance Practice 3A.

Content
Throughout this learning period students will consolidate technical expertise and skills and apply these appropriately in discipline- specific contexts. They will hone their technical and creative skills to expand design exploration, creation and realisation. The subject further supports students to use their technical dexterity to communicate to a variety of stakeholders using clear, original and appropriate design documentation that articulates complex design ideas. Students then undertake critical evaluation and reflection of their work and that of others.

SEMESTER TWO

DFP7302B Design for Performance Techniques B (10 credit points)

Subject Purpose
DFP7302B Design for Performance Techniques B further expands technical proficiency in the essential skills for performance-designers for live production and exhibition. The student works at a professional standard in all aspects of their design communication skills, from early design development, design delivery to design realisation on two fully realised designs: Directors’ Designers’ Graduation Productions (DDGP) and Exhibition.

Content
Throughout this learning period students will expand their technical proficiency and skills, and apply these skills appropriately in discipline-specific contexts. They will communicate increasingly complex ideas to a variety of stakeholders using clear, creative and original design documentation, using design techniques to expand design exploration, creation and realisation. Further, they will undertake critical evaluation and reflection of their work and that of others. This subject is the primary studio skills subject for set, costume and lighting oriented design disciplines in the BFA course and works in tandem with DFP7301B Design for Performance Practice 3B.

Design for Interdisciplinary Collaboration

SEMESTER ONE

DFP7303A Design for Performance Interdisciplinary Collaboration A (15 credit points)

Subject Purpose
DFP7303A Interdisciplinary Collaboration 3A comprises of learning which supports complex and demanding projects which mimic collaborative industry processes across disciplines, and have realised outcomes. Working as creative teams of directors, set, properties, costume designers and lighting designers, each student team collaborates with an artist, musician, or band to conceive and produce a music video, which may have a public web and televisual release.

Content
Throughout this learning period students will examine, explore and expand design methodologies and apply these to a design of fully realised production/s using collaborative practices. They will analyse and develop the text and context of a work with collaborators, exploring design concepts and creating visualisations of complex design ideas, useful for a range of stakeholder engagements. A variety of analogue and digital visualisation techniques support student to accomplish communications through script analysis, concept creation and visualisation of sets, costumes, lighting and video designs. Whilst developing specialist expertise in a range of discipline-specific contexts, they undertake critical evaluation and reflection of the work of self and that of others. The subject enables two projects: Project 1 involves working as a production designer within a team of other production designers to develop, design and realise a Short Film. Project 2 involves the student designers collaborating with the student directors to produce a music video/s.

SEMESTER TWO

DFP7303B Design for Performance Interdisciplinary Collaboration B (15 credit points)

Subject Purpose
DFP7303B Interdisciplinary Collaboration B comprises of complex and demanding collaborative projects, which reflect industry practices. Working as creative teams of directors, set, properties, costume designers and lighting designers, each student team collaborates with an artist, musician, or band to produce a music video which may have a public web and televisual release. In this subject students will complete design exercises that are intensely collaborative across disciplines and have realised outcomes.

Content
Throughout this learning period students will collaborate within specialist teams to inform original design outcomes and communicate effectively with all stake-holders using original designed documentation, from conception to realisation. Students will define, coordinate and work to crew roles and responsibilities, using specialist expertise in a discipline-specific context. They will undertake critical evaluation and reflection of the work of self and that of others. The subject enables two projects: Project 1 is a continuation of the design and realisation of the Semester 1 Short Film and involves working as a production designer within a team of other production designers. Project 2 is a continuation of the design and realisation of the Semester 1 Music Videos and continues the collaboration of student designers with the student directors to shoot and post- produce several music videos.

Design for Performance Professional Practice

SEMESTER ONE

DFP7304A DESIGN FOR PERFORMANCE PROFESSIONAL PRACTICE (5 credit points)

Subject Purpose
DFP7304A Design for Performance Professional Practice introduces designers to an overview of the driving forces that have determined the national creative landscape, identifying the history of the key state and national arts organisations and current trends. Students will be given a raft of tools to enable them to embark upon a successful career as arts professionals and negotiate the demands of establishing themselves as a small business. These will include a basic knowledge of financial and risk management, business and project planning frameworks and an ability to market themselves and the projects they create.

Content
Throughout this learning period students will gain a rudimentary understanding of how to negotiate contracts including the fundamentals of ownership and copyright. They will identify sources of funding and how to apply for grants and sponsorship, how to apply for jobs and how to protect their rights within the Industrial Relations landscape. Students will learn about Workplace Health and Safety, and its intrinsic relationship to other areas of the course and the everyday practice of a designer, and understand the pathways to liability, how to obtain insurance and when it is applicable. Further they will undertake a self-directed analysis of the body of work by a professional designer of their choice, reflecting on the design vocabulary the designer has used to express different ideas and how this language has shifted and evolved over the course of their careers.

SEMESTER TWO

DFP7304B Design for Performance Professional Practice B (5 credit points)

Subject Purpose
DFP7304B Professional Practice 3B assists the graduating designer to set up a small business, as well as launching them into the profession through a professional work placement. This subject enables students to embark upon a successful career as arts professionals and to negotiate the demands of establishing themselves as a small business. These include setting up a small business, financial and risk management, business and project-planning frameworks and an ability to market themselves and the projects they create.

Content
As part of the BFA professional work placement students work with a professional designer/theatre maker as mentor allowing them to observe their professional’s practice and process, and to engage with the professional design process through development and realisation. Whilst attached to the professional designer students assist in one or all aspects of design creation: during the creative development, through realisation working with varying makers and stake-holders responsible for build of the design and the production. They also have the opportunity to follow the various creative team processes, including those of producers, actors and technical management in resolving the design and the demands of the production as a whole. DFP7304B Professional Practice 3B introduces students to the professional knowledge and tools needed to enter the profession, and enables them to operate as a freelance artist and to launch and develop their own practice.

Admissions Criteria

Essential requirements for admission

Admission Criteria – Undergraduate (BFA courses)

NIDA uses direct application to the provider via the NIDA website

NIDA encourages applications from students from diverse backgrounds, with different levels of experience in theatre, film, television or other areas.

ENTRY IS BY MERIT SELECTION

For all domestic applicants including:

  • Applicants who have previous higher education study
  • Applicants who have vocational education and training
  • Work and life experience (having left school more than two years)
  • Recent secondary education applicants
  • Aboriginal and Torres Strait Islander applicants

NIDA's general entry requirements for accredited courses are as follows:

  • Have completed a High School Certificate or equivalent qualification at the end of high school for undergraduate courses
  • Be 18 years of age by 31 March in the first year of enrolment for domestic students in undergraduate programs
  • Be proficient in written and spoken English.
  • Have skills and knowledge appropriate to the level and discipline the applicant is seeking to gain admission into.
  • Have an evidenced interest in the performing arts.

Domestic students with overseas qualifications must supply certified translations of their qualifications.

For all International Students NIDA's general entry requirements for accredited courses are as follows:

  • have successfully completed a Genuine Temporary Entry (GTE) Interview.
  • have completed the equivalent of a Year 12/final year of high school qualification
  • have an English language proficiency equivalent to IELTS 7.0 with no band score less than 6.0 (IELTS 8.0 for BFA (Acting)).
  • be 18 years at date of enrolment for international students.
  • Have skills and knowledge appropriate to the level and discipline the applicant is seeking to gain admission into.
  • Have an evidenced interest in the performing arts.

Selection Criteria – Undergraduate (BFA courses)

ENTRY IS BY MERIT SELECTION

NIDA encourages applications from students from diverse backgrounds, with different levels of experience in theatre, film, television or other areas.

We select students who:

  • demonstrate commitment and motivation in relation to the arts, entertainment and related industries, to their chosen discipline, and to the course of study
  • provide evidence of their capacity to work creatively and imaginatively
  • demonstrate an aptitude to collaborate with peers as part of a creative process
  • demonstrate a range of knowledge, skills, technical abilities and/or problem-solving techniques relevant to their discipline
  • demonstrate cultural and contextual awareness
  • articulate and communicate ideas clearly

Due to the volume of auditions carried out, we are unable to provide you with individual feedback. The decision of the audition panel is final.

It is not possible to defer an offer of a place at NIDA.

NIDA encourages applications from students from diverse backgrounds, with different levels of experience in theatre, film, television or other areas.

NIDA welcomes Aboriginal and Torres Strait Islander applicants. General admissions requirements apply.

How to apply

Application Process

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

Entry to the BFA Design for Performance is by interview. Applicants will need to prepare a project prior to their interview.

View the 2023 BFA (Design for Performance) Application Guide.

How to apply

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

Interview dates

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

Your Interview

What to prepare

PREPARE FOR YOUR INTERVIEW

The application process for the Bachelor of Fine Arts (Design for Performance) consists of two rounds:

  • Round One – Online Application, including Artist Statement and Portfolio
  • Round Two – Interview

Only applicants who are successful in Round One will be invited to an interview.

The following should be prepared in advance and submitted by Dropbox to be discussed at your interview:

If you have questions about these requirements, you can contact the NIDA Design department at design@nida.edu.au

1. ARTIST STATEMENT (completed in Word and submitted as a PDF)

This is a statement that describes the kind of artist you are, your career goals, and what attracts you to the Design for Performance course. This should include your understanding of the role of design in the performance industry (this could include stage, screen, or other emerging platforms). Give us an idea of your previous relevant experience.

Your statement should include one example of live performance you have seen recently, whether in-person or recorded, and describe the design elements (set, costume, lighting, video, etc.), explaining the role they played in making meaning in the performance.
(Max 800 words. Include the Production name, the venue and location, and the Design team’s names if possible. Please include up to 5 images, where possible.)

2.  PORTFOLIO (submitted as a PowerPoint or PDF)

Your digital portfolio should demonstrate your design skills and experiences in the arts. This can include work produced in the workplace, at school, at university, at home, or for leisure. A good portfolio will demonstrate your creativity and passion for the arts, as well as your level of design skill (i.e. drawing, model-making, Photoshop, drafting, or creative making).

It should be simply presented and show your best work – it is better to have fewer examples of higher quality! You will be taking us through your portfolio at the interview.

Some examples of things you can include in your portfolio:

  • Production photographs from shows you have worked on.
  • Photos, drawings, sketchbooks, paintings, illustrations.
  • Creative journals, design developments.
  • Any making projects, including models, sculptures, costumes, properties, and scenic art.
  • Technical work, including technical drawings, props lists, set lists, schedules and production paperwork that shows how you organise yourself.
  • Any other “wild-card” items you that you think show us who you are as an artist!

It must be clearly titled with your name as follows:

fullname_statement_BFADFP_2023

fullname_portfolio_BFADFP_2023

Complete and submit your application.

To complete your application, you must pick your availability to attend an interview by selecting a session on the Application Portal.
Only applicants who are successful in Round One will be invited for interview.

All efforts will be made to give successful Round One applicants their preferred interview date but NIDA cannot guarantee the date and time – it is subject to staff availability

You will be advised by email if you are successful in Round One.

If you are successful, you will receive an invitation for Round Two: This will include confirmation of an interview date.

What to expect on the day

ON THE INTERVIEW DAY

Some tips:

We know that interviews can be stressful, but we will do our best to make your experience as relaxing and enjoyable as possible.

The interview process is friendly, informal, and open, and is designed to give you the best opportunity to show us your potential and readiness to study at NIDA.

Remember, the more time and effort you put into your application and portfolio, the better prepared you will be, and the more you will enjoy the interview.

You will be advised of the outcome of your interview by email.

Student profile

The table below gives an indication of the educational backgrounds of the 2023 commencing undergraduate BFA peer cohort in all disciplines at NIDA.

It should be noted that as selection and admission to courses at NIDA is based on merit the statistics below may not be indicative of the educational backgrounds of commencing cohorts on a year-to-year basis.

Applicant Background

Number of students

Percentage of all students

(A) Past higher education study

11

17.7%

(B) Past Vocational Education and Training study

22

35.5%

(C) Recent secondary education

Admitted on basis of other criteria and ATAR was not a factor

20

32.3%

(D) Work and life experience

8

12.9%

International students

L/N

L/N

All students

62

100%

L/N - Low numbers: the number of students is less than 5.

Student work

See some of our students' work from productions, events, rehearsals, classwork and student projects.

Fees

Tuition fees (2023)

Domestic and international students are required to pay tuition fees by the due date each semester.

The tuition fees are reviewed each year and if you enrol you are liable for the additional tuition costs if the tuition fees rise during the course of your enrolments.

Domestic Students

Domestic students are Australian citizens, Australian permanent residents and New Zealand citizens.

Prospective students: Download the Domestic Undergraduate Student Fee Schedule 2023

International Students

Fees and financial assistance vary for international students see International Students for full details.

Domestic tuition fees overview

DegreeCourse duration2023 Annual tuition fee $AUD*Estimated total course tuition fee*
Bachelor of Fine Arts (Design for Performance) Three years $15,720.00$47,160.00

Domestic tuition fee details

Year 1, 2023
Subject codeSubjectCredit pointsEFTSL**Tuition fee*
Semester 1, 2023    
DFP7101A Design for Performance Practice A 20 0.167 $2,620.00
DFP7102A Design for Performance Techniques A 15 0.125 $1,965.00
DFP7103A Design for Performance Interdisciplinary Collaboration A 10 0.083 $1,310.00
COM7101A Performance and Ideas 1A 10 0.083 $1,310.00
COM7102A Introduction to Collaboration 1A 5 0.042 $655.00
Total for Semester 1, 2023 600.5$7,860.00
Semester 2, 2023    
DFP7101B Design for Performance Practice B 20 0.167$2,620.00
DFP7102B Design for Performance Techniques B 15 0.125 $1,965.00
DFP7103BDesign for Performance Interdisciplinary Collaboration B100.083 $1,310.00
COM7101B Performance and Ideas 1B 10 0.083 $1,310.00
COM7102B Introduction to Collaboration 1B 5 0.042 $655.00
Total for Semester 2, 2023 600.5$7,860.00
Total for Year 1 1201$15,720.00
Year 2, 2023
Subject codeSubjectCredit pointsEFTSL**Tuition fee*
Semester 1, 2023    
DFP7201A Design for Performance Practice A 200.167$2,620.00
DFP7202A Design for Performance Techniques A 150.167$1,965.00
DFP7203ADesign for Performance Interdisciplinary Collaboration A100.042$1,310.00
COM7201A Performance and Ideas A 10 0.083 $1,310.00
COM7203A Student-led Projects 2A 5 0.042 $655.00
Total for Semester 1, 2023 600.5$7,860.00
Semester 2, 2023    
DFP7201B Design for Performance Practice B200.167$2,620.00
DFP7202B Design for Performance Techniques B150.167$1,965.00
DFP7203BDesign for Performance Interdisciplinary Collaboration B100.042$1,310.00
COM7201B Performance and Ideas 2B 10 0.083 $1,310.00
COM7203B Student-led Project 2B 5 0.042 $655.00
Total for Semester 2, 2023 600.5$7,860.00
Total for Year 2 1201$15,720.00
Year 3, 2023
Subject codeSubjectCredit pointsEFTSL**Tuition fee*
Semester 1, 2023    
DFP7301A Design for Performance Practice A 30 0.167 $3,930.00
DFP7302A Design for Performance Techniques A 10 0.167$1,310.00
DFP7303A Design for Performance Interdisciplinary Collaboration A 15 0.125$1,965.00
DFP7304ADesign for Performance Professional Practice A50.042$655.00
Total for Semester 1, 2023 600.5$7,860.00
Semester 2, 2023    
DFP7301B Design for Performance Practice B30 0.167 $3,930.00
DFP7302B Design for Performance Techniques B10 0.167 $1,310.00
DFP7303B Design for Performance Interdisciplinary Collaboration B 15 0.125 $1,965.00
DFP7304BDesign for Performance Professional Practice B50.042$655.00
Total for Semester 2, 2023 600.5$7,860.00
Total for Year 3 1201$15,720.00

*The tuition fees are reviewed each year and you are liable for the additional tuition costs if the tuition fees rise during the course of your enrolment.

** EFTSL – Effective Full-Time Study Load: indicates the relative study load of a subject against a full-time study load of 1.0 for an academic year. For consistency the EFTSL** have been rounded to 3 decimal places. This is not indicative of the full value of the EFTSL but represents an accurate load for fee calculations.

Tuition fees (2022)

Domestic and international students are required to pay tuition fees by the due date each semester.

The tuition fees are reviewed each year and if you enrol you are liable for the additional tuition costs if the tuition fees rise during the course of your enrolments.

Domestic Students

Domestic students are Australian citizens, Australian permanent residents and New Zealand citizens.

Prospective students: Download the Domestic Undergraduate Student Fee Schedule 2023

Current students: Download the Domestic Undergraduate Student Fee Schedule 2022

International Students

Fees and financial assistance vary for international students see International Students for full details.

Domestic tuition fees overview

DegreeCourse duration2022 Annual tuition fee $AUD*Estimated total course tuition fee*
Bachelor of Fine Arts (Design for Performance) Three years $14,880.00$44,640.00

Domestic tuition fee details

Year 1, 2022
Subject codeSubjectCredit pointsEFTSL**Tuition fee*
Semester 1, 2022    
DFP7101A Design for Performance Practice A 20 0.167 $2,480.00
DFP7102A Design for Performance Techniques A 15 0.125 $1,860.00
DFP7103A Design for Performance Interdisciplinary Collaboration A 10 0.083 $1,240.00
COM7101A Performance and Ideas 1A 10 0.083 $1,240.00
COM7102A Introduction to Collaboration 1A 5 0.042 $620.00
Total for Semester 1, 2022 600.5$7,440.00
Semester 2, 2022    
DFP7101B Design for Performance Practice B 20 0.167$2,480.00
DFP7102B Design for Performance Techniques B 15 0.125 $1,860.00
DFP7103BDesign for Performance Interdisciplinary Collaboration B100.083 $1,240.00
COM7101B Performance and Ideas 1B 10 0.083 $1,240.00
COM7102B Introduction to Collaboration 1B 5 0.042 $620.00
Total for Semester 2, 2022 600.5$7,440.00
Total for Year 1 1201$14,880.00
Year 2, 2022
Subject codeSubjectCredit pointsEFTSL**Tuition fee*
Semester 1, 2022    
DFP7201A Design for Performance Practice A 200.167$2,480.00
DFP7202A Design for Performance Techniques A 150.167$2,480.00
DFP7203ADesign for Performance Interdisciplinary Collaboration A100.042$620.00
COM7201A Performance and Ideas A 10 0.083 $1,240.00
COM7203A Student-led Projects 2A 5 0.042 $620.00
Total for Semester 1, 2022 600.5$7,440.00
Semester 2, 2022    
DFP7201B Design for Performance Practice B200.167$2,480.00
DFP7202B Design for Performance Techniques B150.167$2,480.00
DFP7203BDesign for Performance Interdisciplinary Collaboration B100.042$620.00
COM7201B Performance and Ideas 2B 10 0.083 $1,240.00
COM7203B Student-led Project 2B 5 0.042 $620.00
Total for Semester 2, 2022 600.5$7,440.00
Total for Year 2 1201$14,880.00
Year 3, 2022
Subject codeSubjectCredit pointsEFTSL**Tuition fee*
Semester 1, 2022    
DFP7301A Design for Performance Practice A 30 0.167 $2,480.00
DFP7302A Design for Performance Techniques A 10 0.167$2,480.00
DFP7303A Design for Performance Interdisciplinary Collaboration A 15 0.125$1,860.00
DFP7304ADesign for Performance Professional Practice A50.042$620.00
Total for Semester 1, 2022 600.5$7,440.00
Semester 2, 2022    
DFP7301B Design for Performance Practice B30 0.167 $2,480.00
DFP7302B Design for Performance Techniques B10 0.167 $2,480.00
DFP7303B Design for Performance Interdisciplinary Collaboration B 15 0.125 $1,860.00
DFP7304BDesign for Performance Professional Practice B50.042$620.00
Total for Semester 2, 2022 600.5$7,440.00
Total for Year 3 1201$14,880.00

*The tuition fees are reviewed each year and you are liable for the additional tuition costs if the tuition fees rise during the course of your enrolment.

** EFTSL - Effective Fulltime Study Load: indicates the relative study load of a subject against a full time study load of 1.0 for an academic year.

Additional costs

Equipment List

Refer to pages 15-17 of the 2023 Fee Schedule for a full equipment list.

Compulsory Clothing

Safe working clothing is COMPULSORY when in the workshop area. Closed shoes must be worn at ALL times in the workshop studios and theatres.  Protective footwear such as rubber-soled Blundstones are compulsory for use in all workshop areas and theatre spaces so you must have these at the beginning of your course.

Shortly after arriving at NIDA you will be required to have a set of black clothes (ie. long sleeved black top and long black trousers) for production work.

Recommended Reading

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.

Information Technology Recommendations

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. All notebooks should be secured with a Kensington lock to help prevent theft.

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 required.

Further financial information

Australian citizens and holders of permanent humanitarian visas are eligible for an Australian Government FEE-HELP loan for all or part of their tuition fees. For more information about FEE-HELP please read the information below and visit Study Assist.

Financial assistance

Eligible students, who are Australian residents, can apply to Centrelink for financial assistance through Youth Allowance, Austudy or ABSTUDY. Visit Centrelink or call 132 490 for more information.

While at NIDA, full time higher education students can also apply for consideration for a NIDA scholarship. Each year there are a limited number of NIDA scholarships to assist with living costs. These are allocated to students on the basis of financial need with second and third year undergraduates and Master of Fine Arts students prioritised. The scholarships are made available through the generosity of donors to NIDA and from bequests.  It is important to remember that they are to support living expenses and will not cover living expenses.

FEE-HELP

WHAT IS FEE-HELP?

FEE-HELP is the Australian Government loan scheme that assists eligible students to pay their tuition fees, so that students do not have to pay tuition fees up-front. FEE-HELP can cover all or part of a student's tuition fees.

In 2023, the FEE-HELP loan limit is $108,232 for most students.

A loan fee of 25% applies to FEE-HELP loans for undergraduate courses of study. The FEE-HELP limit does not include the loan fee.

The Government pays the amount of the loan directly to NIDA. Students repay their loan through the tax system once their income rises above the minimum threshold for compulsory repayment.

For more information go to www.studyassist.gov.au

WHO IS ELIGIBLE FOR FEE-HELP?

You are eligible for a FEE-HELP loan if you are either:

  • an Australian Citizen; or
  • hold a permanent humanitarian visa.

The following students are NOT eligible for FEE-HELP:

  • New Zealand citizens - refer to the Study Assist website
  • Australian permanent residents
  • Overseas students.

Statement of Tuition Assurance Exemption

Under the Higher Education Support Act 2003, (the HESA) and the Higher Education Provider Guidelines, approved Higher Education Providers must have arrangements in place to protect students if the Provider is unable to continue to offer a course for any reason, unless the Provider has been exempted from this requirement.

As required under 2.5.1.5 of the Higher Education Provider Guidelines of 23 November 2006, NIDA advises that, under section 16-30 (2) of the HESA, NIDA has been granted an exemption from the tuition assurance requirements of HESA. The reason for the exemption is that NIDA is in receipt of funding from the Australian Government. As NIDA is principally funded by the Australian Government, appropriate transition arrangements would be put in place should it be decided to discontinue a course.

Videos

2021 Online Info Sessions

29 July 2021

Course Leader, Bob Cousins, offers an overview of the Bachelor of Fine Arts (Design for Performance) focusing on both stage and screen design, talks you through how you will learn to create sets, costumes, props and lighting for live performance and film productions, and answers questions.

2020 triple J Unearthed music videos (Year 3)

Every year, MFA (Directing) and third-year BFA (Design for Performance) students create music videos in collaboration with triple j - click below to see the videos from 2020!

Festival of Emerging Artists

The Festival of Emerging Artists presents some of the emerging voices who are already co-creating the future of performing arts. Each of these works has been chosen independently by NIDA’s Master of Fine Arts (Directing) students, which is part of what gives this season such a joyous, artist-led energy. The shows are designed by third-year BFA (Design for Performance) students.

Costume Research Collection

The Costume Research Collection garments are used as a resource by our Design and Costume students to investigate construction techniques and the different qualities of fabric in period and contemporary garments.

2019 short film (Year 3)

BFA (Design for Performance) student Hamish Elliot discusses his cohort's video project, Alienated.

Careers

Our graduates win awards, including numerous Academy Awards, BAFTA Awards, AACTA Awards, APDG Awards, Green Room and Sydney Theatre Awards. They have designed for Cirque du Soleil, Bangara Dance Theatre, feature films from international studios including movies such as The Amazing Spider Man, The Matrix, Romeo + Juliet, Batman v Superman: Dawn of Justice, The Twilight Saga: Breaking Dawn – Part 1 and 2, Watchmen, 300, Garden State, The Favourite, Game of Thrones, The Great Gatsby, Moulin Rouge!, True History of the Kelly Gang, 21 Grams, numerous Olympic Games and more.

Potential careers
  • Stage and screen set/production designer
  • Stage and screen costume designer
  • Art director
  • Lighting designer
  • Properties designer
  • Event designer

See NIDA's list of Alumni.

Further info

Entry requirements FAQs

What ATAR score do I need to get into NIDA?

Entry into NIDA courses is by audition or interview only. We do not ask for exam scores or ATAR rankings. However, all applicants applying for any higher education course at NIDA must have completed their Higher School Certificate or equivalent qualification at the end of high school. In exceptional circumstances this requirement can be waived. 

What subjects should I study at school?

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. 

Is there a minimum age restriction?

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.

Is there a maximum age restriction?

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 FAQs

How do I apply for a full-time course at NIDA?

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.

My application form isn’t working/loading!

If you are having difficulty using the online application form, check your internet browser: Chrome, Firefox and Safari are the recommended browsers. You should also turn off any security that blocks pop-ups, as this may prevent the application screen from opening. While application form will still work on a tablet or mobile device, it performs best on a PC or laptop.

Can I apply for more than one course?

Yes, however a separate online application form will be required for each course you would like to apply for.

What do I do if the audition/ interview dates are not suitable?

NIDA aims to accommodate all Australian states during the audition/ interview period.

If the dates provided are not suitable to individuals applying to non-Acting courses we will try to work with you to create a mutually agreeable alternative. If you cannot attend any of the available dates, please select ‘Other Interstate’ when completing the application form and email applications@nida.edu.au to discuss further options.

Unfortunately due to the large volume of applications to the Bachelor of Fine Arts (Acting) course, we cannot schedule any alternative dates other than those advertised.

Audition and interview FAQs

What do I need to prepare for my audition/interview?

All the details for audition and interview requirements can be found on the individual course pages under the ‘How to Apply’ tab.

Does NIDA give audition/interview feedback?

Due to the large number of people being auditioned or interviewed, it is not possible for NIDA to provide individual feedback, either orally or in writing. However, the auditions and interviews are learning experiences, particularly through the opportunity in the auditions to observe the presentation of audition pieces by other applicants and any redirection suggestions provided to you or other applicants by members of the audition panel. 

Where will my interview take place?

Interview conditions will depend on your course. They may be in-person or over Zoom, in which case a Zoom link will be provided to you prior to your interview.

What happens after my interview?

Final selections are made for each course by December when study offers will be distributed to successful applicants via email.

Studying at NIDA FAQs

What are the contact hours for BFA courses?

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.

How are NIDA’s courses structured?

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. 

What facilities does NIDA offer?

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.

Does NIDA offer credit transfer for study undertaken elsewhere?

Yes, NIDA grants credit for formal study undertaken in recognised higher institutions in Australia, including universities, colleges, TAFE and other post-secondary education institutions and for study at recognised overseas institutions, where the applicant has met the learning outcomes, attained the knowledge and/or developed the skills relevant to a specific subject. An application for credit must be submitted and approved prior to commencement of the course. For further information see NIDA’s credit transfer policy.

Accommodation FAQs

NIDA does not provide accommodation for students. However the following information will help you consider some options available to you.

UNSW on-campus housing

Although NIDA is not part of the University of New South Wales (UNSW), NIDA students can access the student accommodation at UNSW.

UNSW is located directly across from NIDA on Anzac Parade, Kensington and has a number of on-campus residential colleges and self-catered apartments that Study Abroad students can apply for by going directly to their websites:

Fully catered colleges:

Self-catered apartments:

Seeking rental accommodation independently

Rental accommodation in the immediate vicinity of NIDA is not usually easy to find at short notice, can be expensive and Sydney landlords usually require a minimum six month lease to be signed. It is also in high demand so it is advisable to start searching at least two or three weeks before you start the course. You should also consider that not all accommodation is furnished and you may need to buy furniture.

Students tend to look for accommodation in suburbs near NIDA such as Randwick, Kensington, Kingsford, Coogee and Maroubra or, slightly further away, in Newtown, Surry Hills or Paddington, because of proximity and transport services. Students at NIDA often have to stay late during production and projects times so it is important that transport is available. Some useful websites that list rental agents and/or rental accommodation are:

Seeking share housing

Many students at NIDA find share accommodation in houses and apartments in the surrounding areas. The advantage to share renting is that all costs, rent, electricity, gas etc are shared, reducing the overall cost of living. Share rentals are often advertised on the rental websites given above, but NIDA students also post notices to the student web pages when they are seeking someone to share their accommodation. Students will be able to access these pages as soon as they have accepted their offer of place at NIDA.

Alternatively, there are local, public forums for seeking share-housing independently such as flatmates.com.au and closed Facebook groups such as Eastern Suburbs Housemates and Inner West Housemates (read the guidelines listed and request to join).

For any queries regarding the NIDA Study Abroad program contact us at applications@nida.edu.au.

NIDA Student policies FAQs

Can I defer my studies at NIDA?

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.

Can students be suspended from NIDA?

In addition to cancellation of enrolment for non-payment of tuition fees, a student’s enrolment at NIDA can be suspended or cancelled on the grounds of misconduct. Refer to the Student Misconduct Procedures below.

Where can I find more information about NIDA Student Policies?

See NIDA Student Policies for more information. 

Fees FAQs

What are the tuition fees for accredited courses?

Full information about tuition fees and FEE-HELP is available under the ‘Fees’ tab on individual course pages. 

Are there any other costs to study at NIDA apart from tuition fees?

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.

Financial assistance FAQs

Are there scholarships available for studying at NIDA?

NIDA students, who are Australian citizens, are able to access FEE-HELP loans for assistance with their tuition fees. For more information on FEE-HELP loans see www.studyassist.gov.au.

NIDA offers students the opportunity to apply for financial assistance at the beginning of each year to assist with living costs. The scholarships are made available through the generosity of donors to NIDA and from bequests. Click here for more info.

What other financial assistance is available to undergraduate students?

Eligible students enrolled in NIDA’s undergraduate courses can apply to Centrelink for Austudy, Youth Allowance and ABSTUDY. Visit Centrelink or call 132 490 for more information. 

Is financial assistance available for students in the Master of Fine Arts?

The Master of Fine Arts courses are not approved courses for students to receive Austudy, Youth Allowance (student) and Pensioner Education Supplement through Centrelink. Master of Fine Arts students are eligible to apply for a NIDA Scholarship.

NZ and international students FAQs

Is there a limit on the number of international students accepted each year?

NIDA welcomes applications from international students. While there is no quota for international students, there are limited numbers of students in each course.

What are the English language requirements for international students?

Students must be proficient in written and spoken English, with international applicants required to have an English language proficiency equivalent to an overall band score of IELTS 8.0 for Acting, Directing and Writing for Performance, or IELTS 7.0 for other higher education courses. Information on IELTS and testing centres in your country is available at www.ielts.org.

International applicants who are short-listed for the Acting course after the recall audition must provide evidence of their English language capability by the end of the first week in December in order to be considered in the final selection process. International applications for other courses should bring evidence of their English language capability to their interview.

Where can I find more information about international students at NIDA?

More information about studying as an international student at NIDA can be found at International students

Course Accreditation

NIDA’S Registration Status

Registered as a Higher Education Provider by TEQSA
https://www.teqsa.gov.au/national-register/provider/national-institute-dramatic-art

Registration Renewal Date

25 June 2025

CRICOS Registration

Code: 00756M

This allows NIDA to enrol international students on student visas into CRICOS approved courses.

Self Accrediting Authority*

Yes – partial self accrediting

Registered Higher Education providers may be authorised by TEQSA to self-accredit courses of study.

Course nameStatusCRICOS Code

Bachelor of Fine Arts (Design for Performance)

Self-Accredited by NIDA under TEQSA’s determination
of Self Accrediting Authority for NIDA

083699F

RPL/ Credit Transfer

Recognition of Prior Learning (RPL) / Credit Transfer

Recognition of Prior Learning is an assessment process that involves assessment of an individual’s relevant prior learning (including formal, informal and non-formal learning) to determine the credit outcomes of an individual application for credit.

NIDA may grant credit for:

  • Formal study undertaken in recognised education institutions in Australia, including universities, colleges, TAFE and other post-secondary education institutions and for study at recognised overseas institutions.
  • Credentialed courses provided by recognised professional bodies, employers and other authorities, where appropriate certification is available; and
  • Prior learning, where such learning can be sufficiently evidenced.

The principles underlying the assessment of credit transfer/Recognition of Prior Learning (RPL) applications are that the policy and procedures are:

  1. Aligned to the Higher Education Standards Framework and the Vocational Standards for RTOs.
  2. Designed to maintain the integrity and reputation of NIDA’s accredited courses for which credit or RPL is applied and support the collaborative nature of NIDA’s conservatoire training model.
  3. Consistent, equitable, transparent, and accountable.
  4. Based on processes of comparable standard and integrity to those used to assess the relevant subject.
  5. That students are not disadvantaged in achieving the expected learning outcomes for the course of study or qualification.

NIDA Recognition of Prior Learning Policy

Apply for a Credit Transfer and/or RPL

Read more about Bob Cousins, Course Leader Design.

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