So today I have tweeted people about taking my Survey, emailed individuals about interviewing and later I am going to do some reading of my chosen literature.

LETS DO THIS x

Module 3

Today I looked over my Module 3 plan and feed back.

I am feeling quite nervous about starting this module as obviously it's so very important.

I looking forward to the challenge though and can't wait to see everyone's presentations in January.

:) x

Critical Reflection

Appendix A:
Critical Reflection on Professional Practitioner Inquiry
Eithne Bryan - Module 2

This module, for me, has been a huge development from Module 1. It has helped me to improve the skills needed carry on to the Final Module and completion of my inquiry. Im really looking forward to using my new found skills.


Developing Lines of Inquiry

To start this module, I was faced with generating a set of questions relevant to my practice (Performing Arts) that I felt would further my knowledge (Appendix A - Task 4a - Developing Lines of Inquiry) To expand on our thoughts and make comparisons, I was then asked to interview someone from my own Professional Community (Appendix B - Task 4c - Developing my Inquiry) It was great being able to see what more established performers thought about these questions, as I already had my own opinions this questioned them. This led me to set up my SIG group upon Performing Arts (Appendix C - My SIG Group) I used this to set up discussions upon Jobs outside of performing arts. For me, being able to support myself and still being able to attend auditions has been a struggle. With the amount of money constantly going out of my bank for bills, making sure I get enough money through a job, I feel is very important.

Professional Ethics

Before these Tasks, Ethics was never really something I had thought about. In Task 5a (Appendix D - Task 5a - Ethics) I decided to compare the Ethics within an audition and then general everyday life. After doing some more research into this (Appendix E - Task 5b - Codes of Practice) this made me realize that for nearly everything where another persons personal health and information always needs to be thought of in an ethical way. I’ve now understand that having high standards of personal ethics can help benifit you as a professional performer.


Tools of Professional Inquiry

At the start of this module, I was still a little undecided what specific theme I wanted to base my inquiry on. I knew it was going to be on the gap between leaving college and progressing to professionalism but I just hadn’t narrowed it down. Because of this, for my Pilots, I kept my questions quite open so that I could still have the practice of the different Pilots and be able to analyze the data found. One pilot I found really useful was the Interview (Appendix F - Task 6b - My Reflections) Being able to listen peoples views, questioning them upon their opinions enabling further discussions was very satisfying therefore I would like to use this as one of my tools for my inquiry. In order for me to get the correct information I am going to do a few more pilot interviews, narrowing down the questions that I ask, in terms of what is useful and binning the ones that arn’t. One Pilot that didn’t work so well was my Pilot Survey (Appendix G - Survey Monkey) This ment I was unable to practice analyzing the data. Although I posted it to my SIG and Blog, only one person replied, I think this may be down to the questions I asked, they were very open and didn’t have a clear structure, I would also like to have some more practice in surveying as it is the other tool I would like to use for my inquiry. With more preparation I believe that I will be successful in getting some useful data.

After a very important and useful talk with my advisor, I finally decided on the Topic for my Inquiry which is “ Employment outside of Performing.” Being able to progress and develop my skills for Module 3, I feel, has been a huge success and I’m hoping that with the right research tools I can improve my knowledge.

Inquiry Plan

So after leaving it till the last minute AGAIN I had a skype with my advisor today.

I have pretty much been confused about this whole module but after talking with her my head is a lot clearer now with the task in hand.

The general idea for my Inquiry is "Life outside of college seeking a career in Performing Arts" but we discussed that this is too big a subject for me to do my inquiry on.

We thought of a few parts within that as to what I could do, for example;

- Looking into an establish performers career, such as Rachel Tucker, seeing where she trained, what agent she went with, how she built herself up ect.

- Comparing the different lives of a straight Actor, straight Dancer and someone in Musical theatre and seeing what different steps they do to achieve stability.

- Looking into different colleges prospectus'; what they teach, who has attended the college, what they aim to achieve - do they stick to this?

and

- Are performers able to sustain a "normal" job whilest trying to persue a dream, for example; is the job flexible enough, do they support your dream, where is the best place to go to work ect.

The thing I have to do now is pick which one, if any of these, I want to inquire about.

Task 6d: My Delicious

Hey Guys,

Here's a link to my Delicious Page:

Delicious - Eithne Bryan.

I had never heard of delicious before but after figuring it out, I have come to realise that it is so beneficial.

The fact that I can have links to my frequently used sights and then link it to my BookMarks at the top of my Web Browser is amazing.

Task 6b: My Reflections

So, my Pilots and their use.

I started with my Pilot Interview, this was done by phone to a close friend of mien who is also in Performing Arts. I asked her a number of different questions on different topics such as " How are you preparing for Auditions?", "Do you feel you are able to sustain your Technique?" " How have you grown since leaving college?." Unfortunately I was unable to get her to sign a consent form for me to post her answers but I feel like that is was really useful for me to hear what she had to say.

I've learnt from this that although the phone interview was fairly quick and easy to set-up I lacked the ability to see her reactions to things. Thinking about the work from last term, body language is key to really knowing how someone feels about a particular issue.

For my inquiry I am going to do a face to face interview, and hopefully with the right consent record it.

I set up my Pilot survey on Surveymonkey. Unfortunately, no-one has completed it as of yet but I am going to send it out to a few people Via my other links such as Delicious and Facebook.

This has shown to me that I need to be a little more prepared with getting things set up and that people won't necessarily do things to help, you have to encourage them a little.

I haven't been able to set up a focus group as of yet but some of the things I am going to discuss with them include auditions, technique, research, networking, college performances, growing up - do we know enough within performing ect.

I have researched some really helpful websites such as:

- A Web page designed to help set up a Focus Group.

- A Web page upon why we use focus groups and how they can help.

- Another Web page upon how to set up and use a focus group to youe advantage.

I'm hoping with a bit more use of these sites I can create a focus group to help me with my Inquiry.

In terms of my pilot observation, I am going to look back over some knowledge and notes I already have:

Ballet - Set 1 - Miss Banks' Class;

While watching over this class at College I was able to reflect upon my other class mates. For example, one member of the Ballet class was a known "trouble maker" and would try and distract the other girls from learning and concentrating. In terms of ethics would it be right for the Teacher to Ban a student for this? She pays to go to the College, she is very talented but just gets distracted easily...should this lead to her being singled out and made to leave or should the teacher just try and carry on with the class. In this case, my teacher is very good at handling disruptive students and didn't single out the performer, only encouraged her to do better. With this she pulled her to the front of the class and asked her to perform the exercise by her self for everyone to watch.

I feel like this is the best way to control disruptive people by not singling them out in a way that will embarrassing or upset them but by making them see how other people feel when the whole classed is stopped for them.

For my inquiry, I would like to observe a number of different classes and then carry out a survey on the different thoughts from the pupils. Im not quite sure where I am going to do this as of yet, I may as my old Performing Arts College with the correct consent forms signed and kept filed.

Task 6a: Pilot's

So here's a Link to my Pilot Survey:

Pilot Survey upon Performing Arts.

In terms of my Pilot Interview, for this I am going to ask a range of different people within and out of the performing arts business. I want to know how they feel about the industry, the teaching ect. For this I am going to ask my Mum, Sharon Jarvis (non-performer) and my friend Sarah Atkinson (performer.)


As I attended a performing arts college for 3 years, I don't feel like an observation would be of any help as I already have experience in this so I am going to use some of my past knowledge for this. I have had hands on experience of 'Performing arts' in all aspects wether it's Teaching, being taught, watching a class, discipline and the performances.

Task 5b/5c: Codes of Practice

In order to do this task, I typed into Google 'Code of practice within Performing Arts.' I stumbled upon this very interesting Document from The University of Winchester.
These are a few of the points:

1. Tutors who anticipate in stage combat should inform the Theatre Technicians that their students may require training in stage combat so that a suitable session can be arranged. In the case of the performance being independent of a supervisor, it is the responsibility of the individual to seek advice on suitable training.

2. Tutors who supervise students wishing to use physical theatre should take responsibility for the health and safety of their students and advise carefully in its use. If the tutor feels that the activity is beyond their area of expertise, then they should advise students to seek supervision from a suitably experienced tutor before pursuing any physical activity.

3. All performers must provide a detailed risk assessment of their activity to the Senior Theatre Technician prior to any hazardous activities taking place. The risk assessment must be approved by a full time member of the technical theatre staff in order for any devising, rehearsals, or performance involving risk to commence.

4. If weapons (any object used within a combat sequence or any item that may be perceived as a weapon) are required, then their use in combat sequences must be approved by a theatre technician. The use of the specific must be covered during the training session with the recognised stage combat tutor. All weapons must also be covered in the performers risk assessment with control measures relating specifically to section 16a of the firearms act.


These are only a few of the points made but I think they show how much detail must be given for a single performance. Without the right practice miscommunication and confusion can occur within a performance.

Another interesting site I came upoon was The Animal Consultants and Training Association. This is a website has the codes of practice for when an animal is used in production. These are:

ACTA Members:

a. Will provide a professional and comprehensive service in supplying
and training animals for film, television, advertising, theatre, stills photography
and natural history programmes.

b. Are committed to safeguarding at all times the welfare of the animals
they provide. Respect for and the wellbeing of those animals will always
be of paramount importance.

c. Will actively promote the policy of specialised veterinary involvement
in and supervision of animal welfare within the media industries.

d. Are committed to all aspects of Health and Safety in the working
environment.

The Association maintains the professional integrity of its members.

I thought this was quite interesting as I knew there is an 'Animal Welfare Act - 2006 (45)' but it didn't cross my mind that codes of practice within a performance would be any different.

Although these two examples are very different from the 'Audition Ethics' from task 5a. Ethics are obviously a key thing to uphold but I think common sense also links to this...if you do something bad to someone it is always going to come back around to you at some point, you just need to think about the conclusion of the actions you do.

Task 5A: Ethics

Thinking about the different situations I have found my self in within my 4 years of living in London (going to college, moving house, gaining work) a lot of the ethics I upheld can fit into different scenarios.

For example;

- Upholding my presentation

- Respect others time and efforts, by being punctual and remembering things asked for previously

- Treating others how I wished to be treated

All of these "rules" are for general life, College, my job and auditions.

As an auditioning performer, we can extend these into;

- Remembering all of your dance shoes, as you never know what your going to be asked for

- Keeping your CV and Headshot well updated as to not show false information

- Not wasting the casting directors time, by not fitting the brief


Even though most of these things are a 'known' to people brought up well, as our society is going down hill, many of these "rules" are also going.

Only a few months ago I was mugged outside of my house. Does this mean that I can go around mugging people?

In an audition, I was pushed out of the way so that the Girl could get her number first, does this mean that it's right for me to do it back to her?

Although many of the people I know uphold my 'general life' ethics, I think times are moving on which is causing less people to uphold these rules and they are thinking about them selfs over others. In some respects, this could be linked to the Photographer in Reader 5, was he thinking about himself when he left the little girl?

Task 4d: Rational - Take 2

I have decided to call my Award title:

BA (HONS) - Performing Arts.

It's a simple one enabling the expansion in various subjects; Acting, Dance and singing.

Eithne x

Task 4d: Rational

Thinking about everything I have learnt over my 3 years of learning at Italia Conti Performing arts college and then my 8 years at the Plymouth associate school, everything that we seem to learn in class in to prepare for our auditions.

Whenever we're in ballet we hear about technique, holding our posture performing to the 'good seats.' In jazz we're told to keep our faces active and go full out every time. Acting is forever changing and growing as we do...

but what is the point in having all these things if we don't hold our own in an Audition?

Thinking about Ideas for my award title, I was concidering something like...

BA Hons - Preparation and Stability

I would love to get some feedback on this as I am not too sure yet if this is correct.

ef x

My SIG Group...

After some helpful comments on my work I have now come to discover that I have lightly based my Inquiry on Life outside of College, aka Auditions so I have now set up my own SIG on Likedin to discuss this further...

My group is upon Performing Arts:

It's going to be quite an open group so that we can cover a lot of ground work.
I have already set up a few discussions.


Here's a link to my Group...

Performing Arts - Break Down


Looking forward to hearing from you all,

Eithne x

Task 4:C Developing my Inquiry

To help me develop my professional inquiry I asked my singing teacher Angharad Sanders and also my Agent Lexi at FLP. Hearing the views of a more experienced performer was really useful to know that she too used to be in my position.

Angharad:

1- Do we need qualifications to achieve the title of a professional performer?

"I don't think we do. I have a few friends that have worked on the Westend who haven't train...but they are boys."

2 - How can we maintain performance standards after training? Is it possible?

"Yes of course. Making sure you keep your voice active and your body challenged makes sure you maintain standards. You got muscle memory from college, you just need to make sure your body doesn't forget the placements."

3 - How long should we pursue our dream?

"Its your dream...for as long as you have it."

4 - Is it easier for men to get jobs over women?

"It's becoming harder for men also, but yes."

5 - Do we need an agent in order to gain paid work?

"Not necessarily, just make sure you get your face out there for people to recognise."

6 - How can we keep on top of money?

"If your passionate enough, you will find a way. Try and do little bits here and there."

Lexi:

1: "I think showing that you have trained shows commitment to your career, there are DADA's that people can get if they can't afford training. We will always take trained performers over non-trained performers."

2: "YESS!!!! Go to class, book singing lessons, do work shops, go to auditions..there is plenty out there if you look in the right places."

3: "As long as you want, noone can decide your future for you."

4: "In the past yes, but things are changing. It's not what you know, it's who !"

5: "Not all the time, but it helps to have us behind you. It looks better that I contact people on your behalf."

6: "There are lots of different jobs out there for performers. Spotlight always have opportunities. Keep your eyes open!"

Task 4a - Developing Lines of Inquiry

Task 4a; Developing Lines of Inquiry.

In Task 2d I stated:

‘One thing that really makes me angry in my profession is Untalented Celebrities. Just because they have a name and a face doesn’t mean that they have the talent to be the Lead in a show. When I have put so much time and effort into being the best performer I can be, seeing a celeb, who hasn’t had musical theatre training or any form of training, walks right on to stage is really upsetting.’

Continuing on with this theme in terms of Inquiry, these are some of the questions I have asked my self within the performing profession;

1- Do we need qualifications to achieve the title of a professional performer?
2 - How can we maintain performance standards after training? Is it possible?
3 - How long should we pursue our dream?
4 - Is it easier for men to get jobs over women?
5 - Do we need an agent in order to gain paid work?
6 - How can we keep on top of money?

Here are my views;

1 - For me, this can go either way. In some instances I know of people who haven’t trained but have become hugely successful within performing such as Ramin Karimloo. Although he always had a love for performing (within rock bands) he didn’t train at a ‘Performing Arts College.’ Therefore although he has had many Lead roles such as ‘The Phantom’ in ‘The Phantom of the Opera’ could we say he is a Professional or just lucky? Many ‘Professional’ performers who have spent years and money upon training never make it in this industry. I know that as a newly graduated performer it is so hard for casting directors to even give you an audition let alone a job. One thing that does annoy me in ‘Celebrities.’ People who go on reality TV shows such as The Only way is Essex and Big Brother seem to be able to gain performing jobs at the click of a finger. I understand that it is better for the theatre if they do this, as it will make more money, but for people such as me who have trained their whole live in order to be able to perform it is just not fair.

2 - I believe with enough hard work we can maintain our own performance levels and improve upon them. Alothugh I have only had a few jobs since leaving college in 2011, I can say that I am still as slim, as supple and I still have the confidence to perform a song upon request for an audition.

3 - I don’t think you can put a time upon your career, if you believe in yourself and can be patient enough to wait for that one person to give you a chance then you should.

4 - I think it is easier to men to get jobs. As there are less guys that train and pursue performing, there is a smaller ratio for men to jobs, whereas with girls there is probably 3 times as meny people as there is jobs.

5 - I don’t think we need an agent in able to get paid work these days. There are so many networking sites such as DanceCast, CastingCallPro and StarNow which allow us to contact Casting Directors personally in order to gain auditions and potentially gain work. Unfortunately for all these sites there is a fee in order to submit your CV.

6 - Money is a very touchy subject in the industry. First we train, which cost my parents £36,000 for my 3 years at Italia Conti, let alone the 13 years I did before attending that college. Now I have left I have to pay for my Spotlight £184, Casting Call Pro £22 a month, my travel £35 a week, my rent £400 a month, bills, clothes, food and things such as hair and makeup products to keep up my looks for auditions. Even after gaining a job there is insurance, equity and if you have one, an agent to pay. I get the best buzz from performing but when you break it down and think about how to survive in these ever increasing prices...it doesn't look too good for our careers.