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