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