Module 2: One.

Module 2: One.

As explained in my previous post I will be blogging about questions that have often come up in discussions with people in my professional community (colleagues, friends, teachers, employers..ect..).

The main topic that has come up during this process was actually far more clear than I ever imagined it would be. Every one of the conversations I had touched on and around longevity of skills learned whilst  training, keeping up to date with technique, keeping the fresh image and not letting the "survival work" take away the love for performing. No only was this clear for me to see amongst all the interviews, it was also something I jotted down in my original notes about how I would answer questions if they were given to me. As the module guide said "this is only step one" so I'm going to approach the next task with the intention to find the literacy on keeping on top of everything necessary to be a top class performer as well as juggling a "normal" job and see if that unearths grounds for my inquiry.

Summarised into questions below are the points of wonder from my collection of data which resonated with everyone that took part:      

• How to keep all areas of performing active when predominately using a handful?

Having worked in all parts of performing perviously, I understand the worry of this question greatly and I'm sure all other all rounders can too. For example completing 2 dance contracts back to back may leave your acting technique lacking as it hasn't been used for a few months. Therefore when you go back into an acting casting, are you at a disadvantage to the others who have worked solidly in acting? Are you then stuck in a string of dance contracts? To ensure this doesn't happen what needs to be done to ensure all areas are kept at the top level you're capable of?

•  How to maintain actively "busy" when not being "performing busy"?

When I write the term "actively busy" it's not intended to mean in everyday life, as of course we ALL have busy lives and "muggle jobs" and things we need to do, I mean it as keeping in touch with the happenings of the ever changing industry. It is so fast paced and changes at the drop of a hat and so maintaining involved when not working can be difficult.

• Re-taining & Developing Skills. 

This one is actually quite self explanatory and overlaps in my opinion to the other points I have made already (as many of them do, which is kind of the point to be fair). Although not forgetting what you have learned and developed in training can be hard. What is the best way to ensure this doesn't happen? Classes? Research? Watching theatre? 

• What can be done to remain west end or T.V standard level when going through a long period with no performing work? 

This next point again is to do with upkeep of skills and maintenance of yourself. It can be so hard to stay at that level! By that I am not only talking about performing skills. There is so much more than that such as fitness, physique, mentality, focus, image, wardrobe, self care all of which take time and money and when out of performing work and trying to keep up with 3 jobs to pay London rent and living costs. 

There are in fact still a few notes in my notepad which I had every intention of adding to this blog, but as I have been writing these points (in particularly the last one) it dawned on my a focus which I think is far more important. The nutrition necessary for a career in performing arts. This covers all the points I've mentioned plus so many more and having friends who have suffered with ill-health both physically and mentally I'm passionate about discovering and understating more about the issues and how to overcome them. Not only to develop my career further, but to gain an understanding I can share with colleagues and friends to ensure they have the best tools available for the profession. 

H x

Module 2: Finding A Focus

Module 2: Finding A Focus.

So, here we are, Module 2! Having read and re-read the handbook for this module early to the start of term I gave myself a good amount of time to think upon what I wanted to focus on for the next stage of the course. The truth is performing arts is such a huge part of my life it is hard to really home in on a specific focus/topic, that is what I feel will be a difficulty throughout this module. Saying that I've been chatting to colleagues of the BAPP course as well as friends and co workers to get an understanding of the thoughts and feelings that overlap with myself and the people I interview. In my opinion that is the way I will be able to best find a focus. 

After speaking with people I'm going to go over the information collected and seek out questions that seem to be common with performers and teachers, which I will blog over the course of the next few weeks. Slowly narrowing down the overall topic of my focus, therefore at least giving me a direction to take this module in. 

At this point in starting module one I'm terrified about the unknown and the thought of being left to my own devices for the WHOLE of the module. however this time around I feel empowered and accomplished that I was able to submit an essay to which I put so much work and research into and was confident with what I wrote. I feel eager to get stuck in and am excited to put forward an idea for an inquiry later on in the course. 

In the mean time, I've got groups of people to meet and a wholeee lot of reading to get on with. The main thing is, I feel in a great place to start this stretch of the course and am looking forward to the next 12 weeks. 

H x 

TASK 1K: Sources of Information

TASK  1K: Sources of Information

My main source of information, and one I could consider to be the vast majority of peoples would be Web 2.0 platforms. The umbrella for these platforms is huge and covers a range of platforms from social media (such as Instagram, Facebook & Twitter) to research and development sites (such as Wikipedia, Blogspot & many independent sites). Whilst completing the modules first few tasks I opened myself up to a far deeper engagement to my communication technologies. The effect of this on my learning for the module has been huge. Before commencing the course I would use the Internet daily for various things but never really put any thought into the research into such platforms to support a professional career, therefore not engaging myself to the bigger picture of Web 2.0 platforms. Now understanding in detail the platforms we have at our disposal the Architectures of participation for my career have hugely developed. Doing so has allowed a broader range of information for me to harness  collective intelligence from casting directors, colleagues and friends. Now putting me in a far better position for developing my knowledge and knowing how to bridge the gap between creator and audience! 

Since 2010 the use of Web 2.0 platforms has skyrocketed and now the Internet is a place in which self-promotion and showcasing is almost fundamental, which leads my to my second course of information - Colleagues & Friends. Not only does this source happen online for me but in person too. Having done a variety of jobs I've met a variety of people, all of which I keep in contact with on some form of platform. Spending time with people who know and understand your profession elevates the judgement one can feel when trying to explain an audition or a change of agent from someone in the unknown. They not only provide a safety blanket for reassurance but colleagues and friends are able to share their pool of information with you broadening your knowledge of the happenings and upcoming changes within your profession. With Web 2.0 platforms being so accessible and reaching such a huge audience with even knowing a smoke share of a post from a colleague could give you information you require. Having said that, it doesn't come without risks as mentioned in Task B. I think social media can be a fabulous source at the disposal of so many people, however the differentiation of personal and professional must be clear and not interlinked in my opinion.

With working in such a competitive industry, self reflection and evaluation is always something I've used as a source and been very aware of. However starting the course, beginning research and the Module Readers have opened my eyes to far more ways of evaluation and the theories behind them which, much like Web 2.0 platforms, I had never really considered before! Task G led me to want to further look into my own conceptualisation of training, learning and progression. Boud describes reflection as 'taking the unprocessed, raw material of experience and engaging with it in a way that makes sense' (Boud, 2001) taking my own level of reflection to a whole new one! This single sentence gave definition to something I had been missing. The Raw Material. Giving me the key something I always feared I was missing. The unknown. When reflection in the past I would be disheartened that I didn't know something or an audition didn't go well and choose not to use those techniques again. After this module I know look to it as something I should nurture and develop for next time, not shut it out as a tool that didn't work. Boud took something I used as an informal internal task to something I could really learn from and develop making reflection a key source in my professional development. 

Networking is another constant source I use within my practice and one that is constant. Having been made so aware of my online content starting from the first few tasks, making sure I get myself chatting to the necessary people is becoming more important. In task 1D I mention I have created a new Instagram account promoting my work including choreography and singing. When out at press nights, events, members clubs & gigs, when networking with industry professionals I'm able to give them access to a professional Web 2.0 platform, one in which I don't only get to stay connected to them, they're also able to see my work! Using knowledge learned from pervious tasks that I have taken into effect I've developed another source.  

5 -. Training....i.e - singing lessons, teaching, acing class.

TASK 1J: Theories Relating To Networking

TASK J: Theories Relating To Networking

With getting started on this task I found it a lot harder than any pervious to get my thoughts together. Linking the theories together to form any sort of blog doesn't seem to be happening for me! (Anyone else find that?) So here goes my thoughts - apologies for the awful construction. 

Affiliation is something I touched on in my TASK H blog, but having dived deeper into the theory behind it, it has been made much clearer. 'The tendency to affiliate is something people have from early on in their lives' (Crisp, J & Turner, R.,2007) which is something I've never considered! It's an per-historic, animalistic way of learning which has led to the evolution of the world for thousands of years, showing us is WORKS! It's helped with development of mankind so naturally it would be a great tool for development of a career. That being said, during my research into this theory I came to the unserstadning that Crisp & Turner see affiliation as a tool to use when unsure of a decision. Almost as a safety next for an action, weather that being something we have instinctively learned or been taught or through our friends and group of people that understand the processes of our profession and can lend support and confirmation when necessary. My personal need for affilliation differs dependant on my mood. I have days in which everything I do I require another view to stabilise the thinking I've done something wrong and some I feel strong and perfectly accurate in my own ability. This links perfectly to the privacy regulation theory (Altman, 1975) as well as the social affiliation model (O'Connor & Rosenblood, 1996). 


Privacy Regulation Theory:

This theory explains the switch between seeking affiliation and being closed off is constantly changing, even from minute to minute, depending on actual and desired level of either privacy or interaction. On the ever moving continuum if the actual out weights the desired the affiliation in which we seek will change. 

Social Affiliation Model:
'This model proposes that rather than showing wide variations in our need to affiliate, we operate according to the principle of homeostasis.'  (Crisp, J & Turner, R.,2007). Homeostasis being the stable constant maintenance of an organism (person). I take this to literally mean the natural chemical change within a person to regulate a feeling, or the like. 

Relating this back to my profession and my own personal experience with this theory dependant on previous daily factors and happenings the level of my own affiliation varies. It's nice to know I'm not moody or needy, it is in face scientific!


As well as affiliation,  the communities of practise theory (Lave & Wenger, 1991) is one of great interest to me. The COP theory is something that I have been unintentionally talking part in for years, and I'm sure others have too. It refers to “groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” Other than the obvious being schooling, from day one of training to be an actor this theory has been engaged. For an easy definition I would describe a COP as groups who have the same interest and passion in something, that by engaging in the said activity develop their skills by interacting and sharing. Which can be a great tool for learning and development of skills. This is the same process that is present when, for example, taking an acting class or dance class. For me personality the use of communities in practise in performing is incredibly beneficial! During my research I discovered globally recognised leader in social learning, Etienne Wenger-Trayner put together a table in which to easily see ways in which communities of practice are used completing tasks and activities in ones workplace or environment. The table reveals ways to develop practices and examples of how. it includes areas such as problem solving, seeking experience & documenting ideas. It's given me a huge help in understanding fully the definitions and uses or COP. 


Since reflecting on the ideas learnt in this task it has come to light that I should broaden my community in which I seek development from. currently I have my peers from drama school, who are now close friends, as well as other industry professionals in varying areas, which I use accordingly to the situation. Again, as mentioned in one of my pervious blogs I would like to join an acting class as well as a singing class which I can attend regularly. Not only will this give me development in my industry from people fresh faces and people I don't know. but will also keep up my skills and help them to remain current in this ever changing industry. I still have a few ideas to digest in this matter, but for now I'm pretty happy what what I've learnt, understood and linked back to pervious research in this module! 

H x 

  

TASK 1I: Current Networks

TASK  1I: Current Networks

From virtually everyone I'm introduced to who isn't an actor (and even some that are) they say the phrase 'It's not what you know, it's WHO you know'. I hear it nearly every day, and as the acting industry is so well connected....it's not untrue. Myself, I would say I'm fairly well connected to what is going on and have made sure I've kept up to date since leaving Italia Conti in 2014. Having worked various temp jobs in the most hideous of London stores I've met loads of really close friends who have done the same as it such a good and flexible way for performers to earn money and still have all the time off you need for jobs, classes and auditions. This (without me knowing it at the time) really broadened my friendship group to not only actors, but opera singers, comedians, dancers and even fire breathers all from various training places around London. Keeping in touch with these friends through coffee catch ups, Web 2.0 platforms, bumping into them around the city and various other ways is a fantastic tool for keeping my knowledge up to date. I fill them in with what I know and they do the same, so the pool of knowledge keeps growing. Like a ripple effect. 

As well as this, a few of the people I've made friends with over my time doing temp work are now in films, T.V shows, Adverts, Westend Musicals and one is now a back up dancer for Rihanna! 

As performing is my passion I'm regularly at the theatre seeing new material, it makes for a great talking point should I get chatting with a director or producer and shows I'm knowledgeable about what it on currently. This combined with using social media to follow various theatre influencers and performers really helps keep on top of the ever changing direction of the industry. Like most performers I have a film reel and a vocal reel which are viewable on my Spotlight page as well as on Casting Call Pro and Youtube, these ways of showing my work are practically VITAL in order to get seen for a casting with the Internet being such a widely used phenomenon. 

Lastly I'm a member of a creatives only members club with houses to meet, catch up, eat, relax and work from in a creative and friendly environment. I love attending the clubs and always feel so much more at ease with creatives around me. Here I've met countless people of influence and status within the industry! I'm not saying I've had dinner with them and chatted about life....but they have seen my face and got an idea of my personality through being situated close on tables. Should my C.V and head shot appear on their desk for a casting, there is a good chance my face will be remembered and I'll be called in for a casting. (That may sound unrealistic, but I've know it happen many times!)

After really thinking about my current networks, I don't actually think there are other ways I could I could use that I'm not doing already! That is not to say I'm using my current way to their full potential. In preparation for this module I've looked through friends and colleague's way for networking and have come to the conclusion I should consider: 

1) Posting more online:

I'm always singing! Always. As well as dancing, choreographing and going over monologues. I should be recording these and posting them online on my professional social media 2.0 platforms to show what I'm working on for comments and feedback. 

2) Finding a Choral Singing Class:

There are so many classes out there for dance, but there isn't a class (I'm aware of) where you practise ensemble songs and work on harmonies! This is something I really want to find as it would be a great way to keep fresh a skill that SO many find difficult! It really could be the make or break at an audition. This will also broaden my group of colleagues and acquaintances.

3) Switch up my singing teachers every now and then:
Doing this will help to get a more rounded critique on my technique and delivery which is great for me as well as good for auditions! Although my current teacher is fantastic, I'm very comfortable around them and that can sometimes lead to complacency! I have colleagues with various teachers and should consider using that as a tool to develop in this area.


During this task I've tried to include knowledge learnt during my previous research and tasks to get better rounded information. Ive used my so far learnt skills in Tasks far more that I thought I would, which is so nice to see. Really feel like I'm learning something!


H x

    

TASK 1H: Inquiry

TASK 1H: Inquiry

This task, unlike the others so far is structured around questions to answer, which is a way of learning I feel we're ALL far more familiar with. Although I'm enjoying working through the tasks that are far more open and individual it's nice to revisit a different way of learning. Even with questions that are specific the answers are so individual, so I'm glad to be writing answers to structured questions with my own opinion and findings at the forefront. 

A) What in your daily practise gets you really enthusiastic to find out more about? Who do you admire who also works with what makes you enthusiastic? 

Something that has always got me really enthusiastic to find out more about is the 'Casting Process'. It's something that has confused me on so many occasions. Just as soon as you think you've aced a thesis, you get cut from the audition and are back to square one. It's hard enough to be seen for an West End audition (believe me, I've had countless) but do you EVER know what they are looking for when entering the casting room? You know they like the look of you as they've asked to see you from your credits and headshot, but other than that you're on your own! Doing research into the show you are auditioning for can maybe help as you're able to see who has previously been casted, which could help....but maybe this year they want a completely different type of performer! Is it really down to song choice? How much does height come into play? Do the panel even know themselves or are they waiting to see the actors to decide? Did I dress correctly? Were my scales flat? Did the pianist play my song as I asked?

The truth is, in every audition you ever go to the answers to these questions will be different, but to learn what sort of things come in to play when casting would be so helpful to a performer! These questions are all things I try to reflect on after an audition. Which makes me ever more hungry to find the answer.

Someone I really admire in casting is Pippa Ailion. Pippa is a casting director who's shows include Wicked, The Book of Mormon, The Lion King, Billy Elliot, Gypsy, We Will Rock You...you get the idea. I've been lucky enough to have Pippa sit in on a few of my auditions, which really changes things! Knowing she's there is tough on a actor! Everyone wants her to think you're talented, but what defines that? Having casted so many Musicals so successfully she must have a method that works! How can I tap into this and add it to my own audition technique.....


B) What gets you angry or makes you sad? 

My answer to this question relates to my previous answer. The unknown. Walking away from a casting having not got the job is hard, especially if you get to the finals. When you find out you haven't got the job, you get a nice email telling you no. But not WHY. There are many factors which come into play, and it's NEVER lack of talent, and that's what is hard to remember. So many friends get so disheartened when they get cut as so many things rush through your head. This is natural! With every performer really wanting the job they're auditioning for they give it their all, not only in the room but in the preparation for the day. A lot goes in to get ready for your 5 minutes and 16bars to a panel. It angers and upsets me that you let yourself be affected by this. It's all experience at the end of the day and when the time is right, it'll happen!

Someone I know shares my feeling on this is my best friend Eliza. We trained at drama school together and have been friends ever since. We both know there's no use worrying about it but sometimes need a shove in the right direction to forget it and move on. We share the role of 'Cheering Up' dependent on who has had the audition. Having someone like that is really vital to a performer. Only a fellow actor can tell you what you need to hear and help you move on from it.


C) What do you love about what you do? 

For me being such a creative person, I love having a different task every day. No 2 shows are the same. It keeps my mind occupied, keeps me fit and get you get to spend time with others as creative as you. Creating characters and developing their background is such a release for me, not to mention spending a portion of your day being someone else. Acting also makes you understand things people do more because you spend so much time observing and creating. This combined with reliving different emotions on cue and telling the story of another give me the fire and passion to do this for the rest of my life. I don't feel any other profession could do that for me.


D) What do you feel you don’t understand? 

Being part of such a constantly growing and ever changing industry I find it really hard to say what I don't understand. As I don't think I've learnt it yet... if that makes sense. I'm constantly learning through watching T.V, theatre, working with older actors, auditioning and classes but what I'm picking up is an extension on what I am already familiar with, just a different approach or tactic. There are always things to learn, no matter what. I love watching people approach a script as an actor. As everyone is different the delivery of the line with always differ, there is no right or wrong as long as you (the actor) can explain the feelings and thought process behind it. The majority of the time I can see where the actor has come from with their thoughts (whether I agree or not) but on the odd occasion, I won't understand it. This is due to me (the audience) not understanding the character fully, as it may not have been revealed to us yet. This, I suppose in essence could be an answer to something I don't understand.


E) How do you decide the appropriate ethical response in a given situation? 

This is a question I've found quite difficult to answer. In my profession it really is so competitive, so when someone get the opportunity to work they're thrilled to be there and love every second. Having trained from such a young age performers love what they do, unlike I would imagine office workers who hate their job and despise going into work. Actors love it, it's the place they love to be. On stage. So in terms of dicipliniary I'm really clueless as to how it works as I've never know anyone need action to be taken, the same with physical contact really. I'm such an open person and don't mind being hugged and kissed by people as a greeting, especially with people you spend so much time with  performing and love the journey you're on with. However, I do feel that contact is variable from person to person and needs to be judged accordingly. It is important to remember that then working so closely there is a fine line between acceptable and unacceptable contact, although that is evident from reactions and social situations are a good gage as to what people deem acceptable. I'm the same in non-work situations, I'm happy for physical contact as a greeting, jovially and between friends. As long as the intention is pure and from a good place. That is what I think is key to the level of contact. intention from where it came.



I hope I haven't waffled on! I'm really intrigued to see what you guys came up with! Feel free to comment!

H x

TASK 1F: Journal Writing Experience

TASK 1F: Journal Writing Experience

Having had time to get into the swing of writing my reflective journal it has been made clear that I have my own style of writing that sort of uses a variety of ways mentioned in the Module Handbook. This is similar to my discovery in TASK 1G for my Reflective Practice in which I discovered I use elements of reflective practitioners such as Kolb, Dewey and Schon's in my reflection in action as well as after the event to get a better result. I'm happy to see a correlation with my learning as I feel the best way to develop and improve is to use a variety of tools you have available! (That was slightly off topic, apologies)

I found certain ways of journal writing, when trying them out, far harder to extract feelings when reading the entries back than with others. The ways that were more personal and in the moment of a specific event helped me more to re-live the moment when looking back. I've decided to, in list form, briefly explain how I found the ways to write a journal.

Description: Being such a perfectionist, I initially thought that this would be my style of choice before trying the options. The entry from this style was detailed in exactly what happened, where, and even had mention of me wearing a "short sleeved white shirt, rolled up at the arms with black jeans and boots". But in terms of reflections on how I felt and what I feel went well it lacked. I could see the audition room again, the panel, the pianist, but could not recall my feelings or the vibe I was getting from the product team. It's a great way to remember a place and layout, although in terms of reflection, other than the detail of the event and guide to recalling the steps of it, feelings for me seem detached.

Initial Reflection: As I mentioned (unintentionally) in my TASK 1G post, this is the way I mostly structure my entries. For me it's freshly written down, explains how I felt through each part and is aware of how my actions changed from the reaction of the panel. However at some points I found the entry to be too vague on the build up pre and post the event, but was great at revisiting my mood and feelings!

List: Everyone that knows me will know I LOVE a list! I have them for everything - to do, shopping, things I want to achieve, places I want to travel, restaurants I want to eat in... ect ect. But at the end of this entry I found I had a huge list of things and feelings that went through my head, what I saw, everything I did... and then saw I should make an extended list! Ha. I couldn't get to like this method at all no mater how much I love listing things. It was a huge collection of nothingness by the end with no specific detail or emotion attached with any of it. Lists will be something I leave for my shopping...

Evaluation: For me Evaluation was by far the best way of writing! It encompasses all aspects in a easy to note down way with good detail:feeling ratio that wasn't hard to recall at a later date. Unlike 'Description' writing it was more summative and gave a better idea of the whole day where detailed thoughts where important. This is now a large influence on how I will structure future entries.


Those were the ones I successfully tried, the other three really didn't work for me! I believe this to be as I was following the order of the module guide. By the time I got to the last 3 I already had a very strong idea of how my entries would now be structured. Mostly following the Evaluation and Initial Reflection ideas. I feel so much happier about my own entries having tried a range of styles, that's what's so great about uniqueness, what works well for one doesn't necessarily work for all. I'm looking forward to reading comment and blogs about others findings on this task to understand better others approaches!



H x