Tools of Inquiry part 6 - 6a and b

As the tools of inquiry cover many aspects of academic work I have chosen suggestion 5

Looking at documents.

I feel this is the most relevant to my practice at this time as I do need to carry out comprehensive research to ensure I source the most significant document/literature for my field of inquiry.

I am discussing with my SIG groups the most effective way to source information that is relevant to us.

I have chosen

1 Looking at documents (to ensure I have chose the right subject matter).

The other three tools of inquiry that I will discuss to aid me find about my inquiry are -

2 Pilot observation (to ensure I am able to move forward to a conclusion with my findings).

3 Survey/questionaires (with a limited number of participants, who will be carefully chosen to reflect a broad spectrum of industry professionals opinions). I intend to ask general questions first in a questionnaire and then ask them to read research and data relevant to the subject supplied by me.

4 Interviews - to see how the information/statistics/data supplied after the questionaires may have changed their opinions and if so why?

I am also working as a insider researcher in my inquiry as the subject affects my own practice. Being neutral and non-biased is a prerequisite in performance arts as we are a creative community
that supports diversity and opportunity. Or are we? The merits and limitations of my documents will unfold as I beginning researching in more depth with counter arguments and by identifying over arching principles and theories relevant to my Inquiry and professional practice.

Ethics (Community, Codes of Practice and Framework) Tasks A, B and C

Task 5a asks us to consider the ethics that are found in our place of work and professional community

and to do this without referencing literature or asking a fellow professionals to comment.

Also noting the codes of practice/regulations relevant to our practice.

Task 5b then goes on to ask us to find out the regulations/codes of practice within the work place

framework with reference to ethics and to blog to see how different our initial  thoughts were to

what we have now learnt.

Task C concerns what I have learnt that fits into my theoretical ethical framework and how it fits in with the ethics of my professional inquiry.

5 a Ethics and regulations and codes within in the workplace - Intital thoughts

1 To do no harm.

2 To protect all and any particular in a minority/individual or groups that may need additional assistance.

3 To not discriminate in any way be it gender, age, religion etc.

4 To treat all equally.

5 To approach all discussions through the correct channels to allow mediation and to ensure misunderstandings do not occur.

6 To follow correct procedures to protect against harm (health and safety.) Full training needs to be given. Working conditions need to be suitable. For examples reasonable breaks from work and comfortable temperatures.

7 To act in a professional manner using a framework under-pinning ethical conduct.


5b Codes of Practice/regulations that steer ethical framework.

Statutory sources/Legislation.

I am a long-standing member of Equity.
Equity is the UK trade union for professional performers and creative practitioners They are a leading industry organisation and are respected nationally and internationally for the work done on behalf of their members. Equity members form a cultural community  (website).

In theatre the interpretation of "workplace" is a "place of entertainment" and work can either be as an employee or as a self-employed person.

Within all organisation they are codes of conduct that need to be observed particularly when there people are involved.

I don't believe that the performance community differs greatly in need from any other work community but may be open to abuse as much of the work is transitory and may be self-generated.

Data protection (protecting information) and checks to confirm suitability to work with minors are ways in which we protect vulnerable individuals.

It is important to be socially inclusive and  non-judgemental in our professional lives.


The BACP (British Association for Conselling and Psychotherapy) has an informative website which
discusses ethical values. It promotes respect, alleviating stressful situations, integrity of relationships and enhancing professional understanding. Part of its mission statement concerning ethics states it aims to promote social diversity, quality and inclusivity of treatment without discrimination of any kind.

My initial research has not uncovered anything that is different from my thoughts and assumptions but I am sure this will change as I continue researching and developing and exploring ideas.

I am learning as I work that the ethics of professional inquiry is a far reaching subject that has great significance to all that it involves and must be treated with respect. This does fit in with the ethical framework that I have always abided by and will continue to expand upon as my practice develops.

The big question? - The Campus Session

One of the questions Adesola and Helen asked was -

"How would you explain to a Module 1 student next year what to consider for their inquiry ?"

We all started off by discussing our thoughts for our inquiry and they covered a lot of ground.

Through discuss we realised that we cant write a definitive dissertation in a few months and that our inquiry simply needs to be something relevant to our practice, to enhance it and add to later on.

Vocabulary is so important. Phrasing and expressions we have not used before can seem daunting but once we understand them in relation to our own practice they make sense and can be readily used and answered. Validity was a word used to realise how our subjects fits into our practice and is useful. It all needs to make sense in relation to me and others.

How do we explain to people what we do if they don't know our job title or field? This is something that I can relate to as an Adjudicator of Drama Festival people think that I go into schools and that I am a teacher.

Students created images to help them work through their ideas. There was the Tornado of Thoughts, that is an entity that is continuously added to and The Umbrella of Ideas.

The session re-enforced to me the idea that I want to concentrate on the role of women in theatre. The subjects the others were thinking of were all related to my thoughts and ideas..

One of our main topics was Ethics." Doing no harm." Where are my ethics currently positioned? I began to think about how the more I am learning will effect my beliefs. I came away with a lot of questions that I am currently working on by researching.

I suggested Ethics was a "considered opinion". If I am uncomfortable with a decision I ask why it was taken and on what grounds? If there are extenuating circumstances then these must be considered.

So the advice I would give the Module 1 students would be -

Don't limit yourself, read and research as much as you can, you can never have too much knowledge, But remember to spend time on topics relevant to you, that will help your practice and your work. Interact as much as possible (especially if distance learning) and do keep a journal (invaluable).

There isn't much time. Spend it well.

Ethics - What are they?

Ethics - What are they?


The Oxford English dictionary describes ethics as -

"Moral principles that govern a person's behaviour or the conductivity of an activity"

Reader 5 Professional Ethics covers the three main contexts of ethics.

1 Personal - effecting a particular person
2 Professional - a field of work requiring a standard of behaviour
3 Organisational - a group of people with particular purpose.

Discussing the impact on professional codes of practice, the implications of ethics in professional practice and how to develop our own way forward with regards to our professional inquiry plan. It states ethics has its roots in moral philosophy and is a code of conduct.

It is important to be open to ethical questions as there is rarely one point of view. It is a daily occurrence and a subject that many people have not considered before in context."

Ethics is the Greek work for "character" We talk of events being character building and that a person has an admirable character. Plays are usually character driven. In performance we are encouraged to develop a character and not give a one-dimensional portrayal. We can do this by creating or finding within the text a backstory, how the past decisions of that person has shaped their character.

Unknowingly, we have made ethical decisions all our  lives. Some will have been passed down to us and are acceptable and we may have had no need to question. Whilst others become pertinent and our decisions are based on our considered opinions and experience.

The ethical decisions we make or accept may have considerable impacts on our lives and others. Selfless people have taken on large corporations because of their ethical values, often resulting in great personal loss, because they felt they had no choice but to demand answers.

To understand ethics we must first be familiar with its development, historical events, impact on professional codes of practice, the responsibilities and its implication in how we can apply this to our practice in the world in which we live.


Hobbes was a political philosopher who wrote the book "Levianthe" and believed in the premise of a set of rules - a social contract in which rational people would understand and benefit from.

The theory of the greatest good for the greatest number was suggested by the theorist J. S. Mills (1861) as in the means justifying the ends.

MacIntyre (1976) believes there are no universals moral norms that we can use as change is inevitable.

Our moral philosophy (theories of ethics) and standards effects our ethical stance regarding equality, race, religion, age, sexual orientation and disability.

An university of Edinburgh article on equality and diversity states ethics is a" specified protected characteristic".

There are varying titles -

Metaethics - an analytical activity - the nature of morality - moral relativism, cognitivism, and non cognitivism.

Theoretical normative ethics - moral judgements - virtue ethics, deontology .and consequentialism.

Applied ethics -  finding resolutions, normalative ethical theories to difficult subjects to consider what is right or wrong.


Ethics,  Research and our Inquiry

It is a important when collating information from participants that we take care and "do no harm" with the information. We may be trusted with personal as well as professional information.

We have a responsibility as a researcher as our inquiries may have an impact on a individual as an emotive subject may make people think differently and make them feel culpable and question their answers or re-actions.

Ethics is a complex subject that is part of our everyday life and helps us to provide a framework for a better, more informed tolerant world.

As long as we remember to embrace change and grow as we become better equipped to make informed judgements and question if we feel uncomfortable with a situation and never accept a situation as the norm if we feel it is unfair and unethical.

Developing Questions In Our Own Professional Community - Task 4C

Developing Lines of Professional Inquiry - Questions


Adesola has recommended that we start our tasks and then re-visit them as they are a work in progress.

I have begun to work on what questions I what to ask as part of developing the lines of professional inquiry and have discussed this with a colleague who trained as an actor but also works as an educator, adjudicator, director, writer and who also runs his own workshops.

He is very experienced in many different fields and this will enable me to cover a broader spectrum of questions.

I have already realised that the correct phrasing is important so as to get a precise answer with clear intentions.

APPENDICES - Appendix 1 SIG Special Interest Groups - Task 4B

Amanda Conroy M00621438 BAPP BA Hons Module 2



SIG (Special Interest Groups)


I think we could all learn so much from other and developing our SIG (Special Interest Group) will help us to classify and clarify information.

Jess Dinmore and I have started speaking on the phone, texting and email questions pertinent to our inquiries and we have also spoken to Eleanor Byrne (Module 2).

We have all been blogging and following each other's blogs and this will encourage us even more.

We have started asking questions on our blogs and answering them. We all work in more than one aspect of theatre and have similar thoughts on our subjects. Eleanor is also interested in women in theatre and this is reflected in her choice of literature and I have found the links she has given me beneficial especially when they are sources I have not heard of or found before.

We don't have much study time left but it will be interesting to see if we change our opinions much in the next few months either as a result of questioning our opinions and being more open or by confirming what we believe works for us.

"Her Turn On The Stage - The Role Of Woman In Musical Theatre" - Task D

Reader 2 - Task D

Whilst searching for literature relevant to my practice I have chosen initially the following three books.

"Her Turn On The Stage" The Role Of Women In Musical Theatre" by Grace Barnes
"Women In American Theatre" edited by Helen Krich Chinoy and Linda Walsh Jenkins
"Theatre and Feminism" by Kim Solga

All of these books have made me see things from different perspectives with their varying theories and practices. All this was spurred by an article by Elizabeth Freestone concerning how women are represented in theatre. I started to read about the history of women in theatre and what it is to be a female performer.

This is relevant to my inquiry as to know how far we need to go, we need to know how far we have come and also to know when we may have gone too far.

"Her Turn On The Stage" was revealing to me as I wanted to see theatre and stage work from a musical performers viewpoint.

"Theatre and Feminism by Kim Solga is the story of the movement known as feminist performance theory and asks three key questions.
1 What does it mean to be a feminist at the theatre?
2  What has it meant in the Past?
3 Why does the theatre still need feminism today?

It includes case studies of plays and a discussion from British theorist Angela Mc Robb and the rise of the political movement known as neoliberalism. The book argues -

"Feminist theatre and practice allows us to understand the way all gender is constructed and re- enforced for better or worse."

Some of the subjects covered are "being versus acting", ethics, basic human rights and pushing boundaries.

"Women In American Theatre" are essays and interviews with females involved in all aspects of theatre.

Rosamond Gilder said in her 1934 landmark study publication "Enter Three Actresses" that -
"Women have risen to greater heights of achievements as actresses than in any other art."

I wonder if she would still think that now especially with all the controversy at the moment with the American Producer accused of using his position to manipulate female artists?

Another section discusses -

"If not an Actress, what?"

Well, a producer, a director, casting director or stage designer. The list is endless which brings me back to the beginning of my inquiry the study by Elizabeth Freestone and the stubborn 2:1 under representation in the theatre of male/female ratio. Why is this? Well, I intend to find out and as a female practitioner, actor, director and adjudicator this is something that does not only effect me but all of us. We really are in this together and would appreciate any feedback that is relevant to the role of females in performance arts.

Skpe with Adesola, Lauren and Henry - Now listen very carefully ...

Once again I had a problem with my microphone and was only able to listen and type on the Skype

call with Adesola, Lauren and Henry from Module 2.


As Lauren and Henry both work in dance and Henry has started teaching they had a lot in common

and were running ideas by each other. Lauren discussed different teaching styles and Henry talked

about teaching young children and adults discussing how we can adapt teaching for different skill sets

and audiences and what teaching methods would be relevant.  Music and dance as a

means of therapy for some children and the subsequent health benefits of participation and

exercise was one of the subjects covered.


We agreed that we need to step away and look at things from a different perspective to widen

our knowledge and to continue looking through different lenses.


Adesola reminded us that the Professional Inquiry is not a dissertation that will have taken three years

but is a tool by which we research, question, analyse and evaluate with the aim of becoming more 

knowledgeable in our practice by researching literature and  theories thereby raising questions

of our own.


Ethics and authenticity are themes that are re-occurring in all aspect of our practice and it is

necessary to understand what this means to us as individuals and what are responsibilities are.

I typed that -

"we need to ask questions that we do not already know the answer to or have a strong opinion on so

that we can learn new theories and ideas and not just confirm old ones that we are comfortable with".

We need to challenge ourselves and others.


When discussing literature Adesola stated that we do not have to complete the tasks chronologically

and that we should return to them more than once and see if our opinions have changed when we

are better informed.


Because many of the students are involved in musical theatre and dance I have started to read

more literature on this subject as their ideas although very similar to acting principles do focus

more on health and mental well being and I think this two aspects should also be considered

more in stage work.

"There Is No Conspiracy Against Women In The Theare" - Task A (Cont)

Reader 2 -



The questions I asked myself before were related to adjudicating. My practice is multi-layered

as most of the students appear to be. I am currently thinking about performance related issues.


Q  Have any actors had experiences that they felt happened because they were female and

that their male counterparts would not have been treated like that?


Q If something feels wrong ethically are we confident enough to question it, and if we do, have

we evidence that supports our questioning?


Q What percentage of performers in your experience had excepted a practice because they have

been told it was the norm and not to question?- to "fit in".



All of these questions are part of the inquiry I am interested in. One of the questions from the

first module was "what do you think has been an occurring theme in your practice". I identified the

role of women in theatre as a core theme and how it affects my practice.


I am not asking the questions from a feminist stance but a neutral professional one.

There is an interesting article in The Telepraph Newspaper  Media Group Ltd (2017) written by

the journalist Rubert Christiansen under the title There is no conspiracy against women in the

theatre".

He states that -

"We are in danger of  making the question of gender in the theatre much more problematic than it

needs to be".


It discusses gender bending and how Phillida Lloyd directed an all female cast of Julius Caesar

set in a female prison. Lloyd was quoted as saying she would only direct a project  if

"at least 50 per cent of what happening on stage or screen's is a woman's experience."


Christiansen believes -

"it merely reinforces gender stereotyping by reducing the complex question of equality to a matter

of statistics and quotas."


Q What do you think changing gender in productions does to the integrity of the script?



The Bechdel Test (Eleanor and I have blogged on this before) that says in a production at least two 

women must talk about something other than a man to past the test.

.
Although it has been said it does not have enough categories it began a discourse and has been

expanded upon.


As we approach our Professional Inquiry we will all be asking questions of our SIG groups

but I would be beneficial to us all if we can help each other with our questions to help us all

understand our practice.


What are your thoughts to my questions?

Appendix 4 Questions? Question?, Questions? Task A

Amanda Conroy M00 621438 BAPP BA Hons Module 2

Adesola's advice has been to approach the tasks not necessarily in order but to start them and

then re-visit at a later date to enable us to observe how the new research has altered our viewpoints

and improved our knowledge and questioning skills.

The main questions that are relevant to my practice are still emerging.

As I have worked as an adjudicator as well as in performance arts I am approaching

things from a different perspective. However, the principals are the same.

As a performer I familiarise myself with the script by reading it multiple times, read works by the

same author and their contemporaries. The same is true of adjudication.

I will identify any challenges and think how to overcome them and make suggestions. The same isstrue of adjudication.

There are endless comparisons, confirming work principles may be the same whatever the job description.

An adjudicator of amateur drama festivals marks to a strict criteria. Contestants enter the festival

with other local groups and perform either a one act play or a full length play. An adjudication

is given at the end of the evening with constructive criticism and suggestions showing how to

make improvements. There is generally an awards evening (a little like the Oscars) with best of

categories.

Some questions I have been thinking about are -

Q  Is it fair to judge an amateur (who may have less time to commit and not have trained) in a

competition on the same level as a professional?

Q  If encouragement is paramount how do we constructively criticise without discouraging?

Q There is a faction of people who do not believe children should be judged in amateur

festivals in case they are unable to accept the comments. What do you think?


Q  In reality of  our daily practice are ethics and political correctness observed?




These questions do not necessarily correspond with my own thoughts and I would be really

interested in comments please as fellow professionals.

Appendix 3 Read and realise

Amanda Conroy M00621438 BAPP BA Hons Module 2





I have just re-read the Module 2 Handbook and Reader 4. This obviously was the case with the other

modules but as other students have mentioned in their blogs these do feel more academic in content.

We are introduced to the Principles of Professional Inquiry that we will complete in our final module

Re-iterating we take all our previous knowledge with us which includes professional networking,

reflective practice and how we perceive and present our professional identity.


The next stage is to understand how to ask the right questions that will help us to develop our own

practice by examining and analysing the literature of arguments of our peers within our field.


The three main themes of the module are -

Developing the Lines of Professional Inquiry - to develop a meaningful inquiry
Professional Ethics (No Harm)
Tools of Professional Inquiry

These will aid our "critical awareness" as we improve our professional abilities to research

academic works.

The topic must be relevant and meaningful to us and will be useful in our practice by not

only improving our knowledge but may be a springboard for further investigation.

By applying the course principals we will be able to research with a rational, be aware of

ethical issues/codes of practice in reality, utilise peers knowledge and discuss work in SIGS using

effective communication skills, analyse research and reflect.

Our tutor will approve the specialism title for our Professional Inquiry for next term. We know from

 Reader 4 BAPP professional inquiry is a "way to learn about what you are doing while you are doing

it".


Judi Marshall writes her process of thinking is "self-reflective inquiry". She states that "an issue, even

theme, dilemma or whatever is an inquiry for me."


Thereby, leaving subjects open to debate and argument as she not just accepted previous information

but is keen to examine and draw her own conclusions.

I can identify with this. If when researching we are informed something is the definitive answer, it is

benefical to question and know how these comments were achieved. Could they have been influenced

by the writer agenda and environment? Do we agree? Can we bring anything to it? Would this be

perceived differently by those outside of the sector?


This module is a way of discovering, exploring, comprehending and clarifying my thoughts

by using all the components provided that will help me to chose my Professional Inquiry topic.

Appendix 2 Skype with Adesola 2nd October

Amanda Conroy M00621438 BAPP BA Hons Module 2




I have just been listening to a Skype session with Adesola and students from all three modules.

Although my microphone and speaker said there were working I could not be heard.

This added a different dynamic for me as I could hear everybody perfectly well but not interact.

Because of this I was able to take copious amount of notes and here are some of points that I took from it.

I am a Module 2 student currently just starting on Reader 4 Developing the Lines of  Professional Inquiry. It discusses whether we work in a disciplinary context or if our situation is more transdisciplinary. The language we use in our professional practice will mean something slightly different to each individual.

There is, of course, common ground in all mediums of our work but our understanding of ethics is important . They are not an entity of their own but are present and accountable in everything we do. We need to see the bigger picture and decide how authenticity is important to us. Adesola mentioned "new liberalism". Whatever we chose to do takes a stance. How do we keep authentic to ourselves, our truth? Neo-liberalism is defined as "a modified form of liberalism tending to favour free-movement and capitalism" Oxford English Dictionary.

Authenticity is defined as truthful, genuine. So if we are authentic it means we actually possess the alleged or apparent attributes we portray.

I believe to know what you should do you must first understand what you should not do and why
.

As I work through the readers I realise there are words, expressions, phrases that I know but do not use daily in my working life. However, this  professional language links us all and gives us a place from which to approach new subjects and start a discourse.

We discussed ethics, authenticity, expectations and policies. We asked questions -

What does it feel like to be a BAPP student?  What is  Authenticity -  Thinking about our identity?
How do we filter the vast amount of information we are currently processing?


I was unable to verbalise my thoughts but I did type -

How do I filter?
I may just have a gut feeling that something is going to be necessary and worth developing. It may be because it either fits into my practice or it really questions my rational. It may be something that has appeared in one form or another that I have encountered before. I try to start with the reading lists and find inspiration from similar academic books or journals,. I also use a list - with two columns, information I think is pertinent and vital to my inquiry and the other I will log as research and background.



It was interesting to hear the comments of J, the Korean student, and the reaction from some students about the artistic black lists. We are fortunate to live in a democracy particularly as performers as we often question, think outside of the box and challenge.

For me being a BAPP student has opened up a whole new world of possibilities. Like everyone else is hard to fit it all in but the final result will be worth it and something that we will take with us. We will probably never have such good resources again to learn from (each other) and this is what makes the blogs and Skype sessions so invaluable.

"Starting Back"

As I was unable to attend the Skype sessions, due to being on holiday and working, I have been catching up reading all the comments relating to them and also all of the blogs that people have started to post.

I found Adesola concept of "starting" interesting. As technically every time we stop we need to start. Albeit a dance move or a speech in a play. Although every new beginning has a start I kept engaged over the summer by reading the Module 2 readers and academic books (not all from the lists) as I want to improve my academic skills both as a reader and writer.

However, what did feel like was a real "start" again was the blogging. I had missed it over the summer months as I don't really have any friends that do this and it was a pleasure to read Eleanor, Jess D, Jennifer S, Lauren et al to see what they have all been doing and thinking over the summer break.

I do keep in touch with Jess Dinmore and was aware of her wonderful adventure in America. I agreed with her comments about a "techno" break. I couldn't skype on the 15th or 16th as I was on holiday in rural France and as I knew there was no Wi-Fi I didn't take my computer just a bundle of books. I made notes in my journal and it was a luxury to lie in the sun and think about my dissertation. I appreciate how important technology is and how it can help us immeasurably in our professional practice but it was relaxing to have time out from it. My husband had 438 emails when he returned to work!

One of the points from the Skype session seems seem to be organising our time effectively. Every one is so busy many with full time careers and volunteer work as well. I am no different.

I work as an Adjudicator of Drama Festivals and am attending a Selection Weekend to join a Professional body of  Adjudicators. We watch a play and then have to adjudicate it the next day in front of our peers. I have already had to submit a written paper with four brief introductions to three well known plays and a new piece by an award winning author. I will also have to sit for two more written papers.

Writing the blogs is enjoyable but as these written papers need to be more formal in style, I have found that the written work I have done recently on this course has been beneficial.

 It seems that the people who are very organised about time and routine worry about not being "in the moment" and losing spontaneity and those who are more organic even though they get the work done wish they had more structure. We can all learn from this. I always feel when acting that I like to learn the lines as early as possible. I don't believe in peaking too soon. On a professional tour you will perform the same work for months on end and have to bring a freshness to it every time. Once I am secure with the dialogue I can then work on other elements and bring something to each role. This also relates to our course, get the basics right and everything is easier. Get done what needs to be done and then really enjoy exploring and researching the subject.

Emily Richards mentions it is acceptable not to have a subject chosen for the enquiry yet - there is time for one to develop and Jennifer Simm's point of setting a time limit is worth adhering to.

If we all learn from those that are very organised and structured and have a routine - a time table, set working hours or days (what ever works for us) and try to stick it we wont disappoint ourselves that we didn't achieve. Once we have organised our selves we can then give more time to the organic process as we can relax and be really creative because we have organised and created the time.

Yes, it really is all about time. Starting, continuing, finishing. We all started together, we are all continuing together and although we will never stop learning, we will all get to the finishing line together.

Linking the course to my practice

Recently I have been mentoring and shadowing a new adjudicator. I have attended sixteen out of eighteen full length plays.

I supplied him with the information with regards to festival guidelines and the strict marking criteria along with general information and some of my experiences.

This is all I gave him.

It is very important for an adjudicator to develop their own process as they need to be able to justify their grading. This reminded me of a previous conversation on the course when we talk about taking "ownership" of our work.

I also felt this related to my BAPP course in another way. Even though we are all being guided through, ultimately the journey is ours. Only we know what we have learnt and how we will apply it to our current and future practice.

Skye with Adesola

Last night I joined in with a Skype session with Adesola, Victoria, Lois- May and Megan. The three students are all on a different module and after introducing ourselves we discussed feedback on our Critical Reflection/Review.

The common denominator in our feedback was that we must not presume the reader knows what we are writing about and that a strong structure aids a good "flow" and makes more comprehensive reading.

They discussed their Critical Review, Artifacts and Oral Presentation. Although I am aware this is what I will be doing in the future I asked if they could all tell me succinctly (in one sentence) what this had encompassed.

The key words used were summary, sharing, insights, presenting information and that it could be regarded as a "celebration" of their work.

When asked what I felt would aid a presentation I suggested watching others presentations and not only those in our chosen field, If someone can keep our attention by presenting something we know little about and  help us to see something from a more informed perspective they have achieved their brief.

I wondered if people personalities will shine through an oral presentation as is the case with blogs and what we need to do whilst arguing similar points to make our work stand out and not be "samey".
.
We were asked what quality we thought was important in our professional practice and I believe honesty should be the framework of our professional and personal lives. Team work and a good connection with others was also suggested.

We also discussed their inquiries with subjects covering ethics and vulnerability in the work place. Adesola suggested asking the Liberians for their help concerning copy rights and other issues. I have done this and have found them to be very helpful.

So the points I have taken away from this Skype are that whatever Module we are taking the student concerns and thoughts are much the same, I mentioned in one of my blogs that the professional language used in our careers make us feel we are connected and part of something and I noticed a broader use of this terminology last night.

So, I have finally done it

So, I have finally done it.

The thing that I have thinking about since September when I decided to take this degree course. I have emailed the first draft of my Critical Reflection.

It took longer than I thought what with referencing and appendices, going through all my old work and re-reading blogs and their comments.

And yes, it is a work in progress and I know it will change but I also knew if I didn't do it by end of week ten the tutors would less time to send written feedback as week twelve is oral feedback only.

Paula said that she has known up to twelve drafts so here's counting!

Hope your having a Good Easter break. Can't believe how quickly the last ten weeks have flown by.

Task D Inquiry

This task focuses inwards as to how the ideas of reflection relate to my professional practice. By identifying themes, I will be able to reflect on what I am currently utilising and what lines of inquiry will be explored later in the modules. These will be effected by my existing skill set, training and my current professional practice. Reflection is a necessary tool and I cannot judge others effectively if I am unable to understand and identify my own practice.

My relationship with reflection is based in my everyday practice and is built on a professional framework. We cannot move forward if we are not willing to look backwards. My general professional practice is structured to ensure all my commitments are met. I have a comprehensive filing system and will  re-visit my notes with a view to reflection.

I mentor and attend adjudications and research the background of fellow adjudicators as part of my networking. As my intention is to be an external examiner of Speech and Drams I attended drama school to take the examinations I will be grading. I wanted to remind myself how it feels to take examinations.

When I re-visited my blogs, I identified the keys themes as woman's role in society and the performing arts, constructive reflection and professionalism. I thrive on enthusiasm  and there is so much to learn in this creative and inspiring industry that can bring such joy. As a student and a adjudicator I have to allocate time for research. I always enjoy the moment when a theory makes sense. Not because I am told that it does but because I now know that it does.

I keep my professional practice current by reading, writing, researching, acting, attending performances, mentoring adjudications, participating in workshops and working with practitioners.

I have never really understood people who do not like performance and will encourage them to see things that are out of their comfort zone as any reaction is a meaningful reaction. We cannot simply be passive. In performance we can be whoever we want, see world's that don't exist and experience feelings we have never had before. Performance can be brutal and shocking but in turn life-affirming.

Prejudice and small mindedness makes me angry and sad. We watched with Adesola, a former member of The Westborough Church, talking about her life. She had excepted her family's opinion and did not questions them. Her life was full of prejudice, rage and hate. When she started to go on-line a group who were not members of the church asked her why she thought the way she did and had she thought that there might be alternatives? They did not judge her but asked questions and listened. She questioned and listen back. She subsequently left her family unit and married one of the people she had met on-line. She speaks eloquently about her past life and does not apportion blame. The overall message was that kindness will prevail. I admire her because she has found a way to work around her anger and sadness.

In this industry I admire strong women who haven't compromised. Helen Mirren is an actor was is able to be naked when necessary without it seeming gratuitous. She definitely has "ownership" of her body. When I was sixteen I saw Glenda Jackson at The Royal Shakespeare Company. She wore no make up and her costumes were modest but her aura as The Queen of the Nile exuded from every pore. Salma Hayek is a multi-talented actress/producer/director was told she would probably only play maids because of her ethnicity. Josie Rourke is Artistic Director of the Donmar Warehouse and has a strong vision of what she wants to achieve artistically. Tilda Swinton is an actor I admire for her versatility and she is not afraid to play characters who are unsympathic. Dorothy Height was dubbed the "Godmother" of the Civil Rights Movement. She was on stage when Martin Luther gave his iconic "I have a dream" speech.

One of the strong women that I admire who I have a relationship with is my mother. She was involved in theatre but was happy to have children and ran the family business with my father. I know she shares my love of performance as she instigated our theatre trips as a child and has supported my career choice. She has always been my harshest critic and greatest fan.

One of my friends is a very talented actress who has two children who are autistic and as a consequence has only really worked in amateur theatre. She, too, now has been diagnosed with autism. When she is in a show the standard is always raised as she is inspirational to those around her. We are both equally passionate about speech and drama and she performed in one of my exams.

Another example is a former drama tutor. She wasn't always the friendliest but she was always approachable. She was an actor and tutor and able to lead by example. She nurtured our enthusiasm and professionalism.

I do not understand people who think they have nothing to learn. I understand that sometimes in this profession people need to have a confident persona but this should not translate into ego and arrogance. I do not understand people who judge one another by one set of standards they do not follow themselves. I know my sister feels this way. She is a highly educated professional working at a university who graciously allows others to tell her things she already knows. She does not shout the loudest but her voice is always heard.

Ethics are an important consideration in all professions but particularly performing arts. When we are working we may become emotionally or physically close to another performer. Going away on tour can be difficult for a younger performance and the experience may be intense. The nature of performance can lead to very close proximity with another human being and ethical guide lines and moral codes must be adhered to. The intensity of a piece of work does not entitle someone to invade our personal space with inappropriate behaviour.

It is imperative not to feel compromised. Behaviour on stage of a character who is unpleasant, confrontational or abusive in a sexual or physical manner needs to be choreographed as would any movement with the actors being totally in control. Personal comments with regard to gender, race, religion, beliefs and values if inappropriate should not be tolerated and any issues need to be reported to the relevant authorities.

We accept different behaviour on stage because we are working and in character or experimenting. This may be behaviour we ourselves would not tolerate in our daily lives outside of performance. These is a ethical divide between the two and this is where we need to exercise our professionalism to support ethical choices and values.

Making the appropriate response requires knowledge. Thinking ethically literally means thinking beyond yourself. When researching I sourced Nicholas Ridout's book "Theatre and Ethics" and Alasdair MacIntyre's "A Short History of Ethics".

Olivia Pratt on Prezi has a presentation "Ethics V Accuracy" that discuss ethics in theatre. There is a diagram for the visual learners and she states questions -
"Should historical certainty have priority over personal/professional ethics? Historical accuracy is important as is artistic integrity but sometimes achieving perfection costs too much, and accomplishes too late. I want to make my show historically accurate but I am not going to embrace racism to do it."

From this inquiry, I have realised  some of the important questions that have been raised for me. The first is the role of women in our industry and how attitudes have or have not changed. Is there still blatant ageism and discrimination? I wonder if any younger students have noticed this or is it mostly the older actors. In this week's Daily Mail Glenda Jackson bemoans the lack of good roles for older actors saying she longs for a script that "wasn't just about age."

Eleanor blogged about the Bechedel Test  bechedeltest.com and her abstract on campus was a book called "Ageing Femininities: Troubling Representation. These are significant lines of inquiry that I am going to explore in future modules and I would appreciate other student's thoughts on the subject.

I am going to continue looking into theories and practices.The key thinkers have emerged and I would like to compare the theories of their predecessors to current theorists. What have we learnt?

When I reflect on my practice I am aware that I love everything about what I do. From the written work, to the first time I see the empty stage, the rehearsal and the end product. When I adjudicate I mark to a strict criteria and hope the performance will exceed my expectations. I respect the fact that the actors have chosen to  expose themselves to constructive criticism with the intention of being open to improvement and reflection. This is why it is so important for me to be aware of this in my own professional practice.


References

Dolan, J & Tincknell, E, "Ageing Femininities:Troubling Representions" Cambridge Scholar Press, 2012
MacIntyre, A, "A Short History of Ethics",
Ridout, N, "Theatre and Ethics" Palgrave,  Paperback e-book, 2009
Olivia Pratt, Prezi, "Ethics V Accuracy", E. Source

Task C Reflective Theory -

A Critical Reflection on Reflective Practice.

I have been aware of reflective practice in my profession for many years. We were encouraged when I attending drama school to keep a journal which we were able to draw upon when writing a reflective submission for examination. Reviews, positive or negative are a useful way of reflecting what was desirable in a performance and what steps need to be implemented to aid improvement in the present or future. I enjoy watching a performance and then analysing from the performers and the audience point of view. Did we all see the same cohesive vision that the director had?

My reflective practice is held together by a strong framework, under pinned by theory. I think reflection portrays professionalism as it shows we are willing to learn from our mistakes and successes.

One of the tools I have began to use is "blogging." When there is a thread, the blog becomes "alive" when it is not commented upon is it a "dead" piece of writing with endless possibilities unexplored.

Gil-Garcia and Cintron claim journals encourage self-assessment, collaborative critique and goal setting. Smith's 1989 four phase model of "describe, inform, confront and re-construct" suggests using a double entry journal with information on one side and reflection on the other. This is a reflective practice tool that I utilise as when I do not know how to begin. It supplies me with a strong starting point that focuses my creativity.

Moon states that reflective journals can be a tool to support critical thinking. This includes "multi-dimensionality" courses of different tools and sources that helps us to "stand outside ourselves."

Other tools that can be used are portfolios and E portfolios. Dietz and Wolf write these are -
"A collection of structured professional "artefacts" gathered together of skills and knowledge."

Whilst researching I read "The Generic Centre Reflection in Higher Education, Jenifer Moon, University of Exeter.  She explains the purpose of her paper is to "provide a concept of reflection that takes account of the theory but what can be applied practically or usefully" Moon's definition of reflective practice is "a set of abilities and skills, to indicate the taking of a critical stance, an orientation to problem solving or state of mind."

She qualifies "reflection is a form of mental processing" and describes Dewey as a classical theorist who had a specialised form of thinking. When reflecting on Kolb's Learning Cycle she feels this method can be constantly "re-cycled" through new experience as Kolb uses this method to encourage exploration and experimentation.

She writes that Schon used reflective practice "as a mechanism for practical development" and that Dewey was exceptional because he took a holistic view or reflection as a process. Moon theorises that reflective practice "slows down" our practice and we can take ownership by thinking about our actions and intentions. This relates to my practice as every performance will be my own creation, albeit with collaboration, and as an adjudicator my decision is considered final. I have to take ownership and responsibility.

Moon writes "reflective practices is an active, dynamic, action-based set of skills, placed in real time and dealing with real, complex and difficult situations."

As Tamora in Shakespeare's Titus Andronicus my character was responsible for mutilation, rape and murder. I found I was reflecting almost instantly on my actions during rehearsal and certainly afterwards. I needed to empathise with the character and had to find the reasons why she made such extreme choices.

Kolb states that we are "feeling watchers, thinking doers and thinking watchers." Does this lead to us becoming "feeling doers?" I believe it does because our creative nature cannot be natured unless we fall into one or preferably all of the above categories at different stages of our professional process. We need the ability to synthesis our skill-set.

Kolb's Learning Cycle is useful as I can relate to it and have incorporated it in my practice without knowing it. I have worked with directors who have encouraged a form of this theory and by association am noticing it more now in my professional practice. We all know more than we think we do.

I realised my is method generally is reversing Kolb's Learning Cycle.
Feel (Concrete Experience)
Feel and Do (Accommodating)
Think and Watch (Assimilating)
Observe, Watch and Feel again (Reflective Observation)
Abstract Conceptualisation (Thinking) is continuous from start to finish and would include any research I undertake. Workshops and "hot seating" would be the Active Experiment area.

I conclude that this is because I begin with the concrete experience level when undertaking new work. My intention is apply practice and methods with a clear rational. I like to be free to experiment and explore and then stand back and observe and think. The end result will have an element of "truth" I "felt" at the beginning of the process.

Boydell, Burgoyne and Pedlar believed that Kolb's cycle is weighted from the perspective of educators. Their simplified version becomes -"Something happens, What happens, So What and Now What?" There are many variants of Kolb's Learning Cycle and I will cherry-pick the phrasing that works for me in a particular circumstance. With a contemporary or controversial play the Pedlar, Burgoyne and Boydell questions feel more urgent and immediate.

When I began to Blog I entered the cycle from the opposite side and went around in a clockwise motion form Diverging to Accommodating. I researched, read, wrote and reviewed.

Dewey's idea of "continuous  re-organization, reconstruction and transformation of experience" is a concept that I have used in my professional practice. We need to adapt and be open to change as we work and learn. If we do not our performance could be one-dimensional and uninspiring to watch. It is fruitful to evaluate and re-evaluate as we work.

Whilst working on a script I will draw on Dewey's ideas of reflective thought and experience. Acknowledging many professions can benefit from reflective theory and practice Dewey writes "interaction with the arts can led to a unique and valuable experience".

Dewey uses the term "reflective thought", considering after having an experience how it affected us. We need to first comprehend we are having an experience and then compare it to any other previous experiences so we can understand our own process. Our aim is to find meaning as if we do not understand this basic premise we may be blocked. Reflection and reflexivity are a "sophisticated human process requiring sophisticated educative support". Doubt and uncertainty is a state of mind that Dewey believes is essential to reflection. As he lived through two World Wars, it is not surprising he hoped reflection, used to help create fully-rounded responsible humans, could help democratic rule and solve wordy-issues.

I embrace Dewey's concept of "puzzling" through. It suggests we are not fully aware of what we need and are willing to admit we are still a work in progress. Of   Dewey;s book"How We Think"  Rorty writes this became the progressive educators "bible  Dewey's work influenced Boud et al (1985) but questions have been raised with reference to his model. Dewey uses five stages of thinking "suggestions, an intellectualisation of the difficulty, learning idea, the mental elaboration of the idea and testing the hypothesis".

Infed, a web journal, suggests that Dewey is "left hostage to fortune by using terms like "stage and phase" and because of this invites a sequence and therefore is still offering a set method.

Schon introduces us to the terminology "reflection-in-action and reflection-on-action." If we use one do we then automatically go on to use both? This would work well in a workshop environment. To present this idea and see how different individuals would approach and incorporate these theories.

Erault claimed reflection can be "too hot" to use-in action as problems may arise when time is limited and decisions made in haste. Erault claims Schon "technically rational paradim" does not analysis everyday practice and Kinsella suggests there is much confusion concerning reflective practice.

As an Adjudicator of one-act festivals I have to grade performances whilst in-action and on-action and usually only have fifteen minutes to add to my notes. Full length drama festivals have more time for consideration but the original notes are almost the most valuable reflection tool. Brookfield (1995) suggests we "connect to our practitioner selves. When we use our metacognitive skills it is important to be aware of conscious competence and to understand the limitations of our current skill-set.

My relationship with reflective practice has developed over time. Although I do not consciously call upon it I know it always there. A few years ago I was cast in a part I had previously played. Although my performance may have appeared comparable I knew I was bringing all my current experience and had reflected on how it could be improved.

When using critical thinking as part of reflective practice it is necessary to apply, synthesise and evaluate. We need to approach the task with a clear, rational and open mind using informed evidence obtained relating if possible to real events. To explore critical reflection we need to journey back and call on our experience, knowledge, skills and theory to help us form our every-changing opinions.

References

Gil Garcia, A & Cintron, Z.  Available on e-resources (2002)
Moon, J, "Reflection in Learning and Professional Development", Kogan Page, London, 1999
Moon, J, Learning Journals: A Handbook for Academics, Students and Professional Development" Kogan Page, London, (1999)
Moon, J, "Reflection in Higher Education" University of Exeter, e-resource
Kolb, D. A, & Fry, R. Towards an applied theory of experiential learning in C. Cooper (ed) "Theories of Group Process" John Wiley, London, 1975
Pedler, M, Burgoyne, J & Boydell, T. "The Learning Company. A strategy for sustainable development", McGraw, London, 1996
Dewey, .J. "How we Think": A restatement of  the relation of reflective thinking to the educative process." D.C. Heath & Company, Boston, 1933
Infed e-sourcs "Reflection, learning and education", M.K. Smith 1996, 1999
Schon, D.A, "The Reflective Practitioner: How professionals think in action",  Basic Books, New York, 1988
Erault, M, "Developing Professional Knowledge and Competence", Falmer Press, London, 1994
Rorty, R. "John Dewey, The Later Works 1925-1953" Volume 8, Southern Illlinois University Press, 1987

Reflective journal 2a part 1

Dear Diary

I have kept a diary of sorts since drama school. I like to remind myself of events and feelings as soon as possible as time can make us recollect things in a different way.

Sometimes I even write on the back of my hand as was the case the other evening when watching BBC2 "Inside No 9" written by Reese Shearsmith and Steve Pemberton. One of the characters said something that made me laugh and I wanted to share it -

"If all the worlds a stage where do the audience sit?"

I find writing helps me to quash my negative thoughts as seeing the text, the written word, helps me to be more realistic in my judgements and prevents me from being too self-critical.

It reminds me that there is no one rule for me and a different one for others. I must practice what I preach and as a journal is a participatory tool it helps towards a strong foundation for organising my learning patterns.

So, for me keeping journals in different ways has been illuminating and I too am looking forward to reading the blogs concerning this subject.

Relective Writing 2b

Reflective writing task 2b part 1


So far I have only really been concerned with my own process but this task enables me to engage in the experience of others by listening to their comments and applying them to my practice. To see things from their perspective, by working the a script and characterisation, but stand back from it and seeing the bigger picture.


I made a recording on Monday for Heritage Lottery Fund as part of an inter-active experience for  visitors. As it was a historically researched script based on real people and events it was important to remember our ethical values whilst still being creative open to interpretation.

 The actors all rehearsed two different roles but were only recording one. I was cast as the lady of the house and her maid. We all brought sometime different and the performances varied and I thought about how I had reached my own conclusions by considering the characters age, status and the period in which she lived. There were no right or wrong choices. As long as we had made an informed decision they were all equally valid.

During the workshop I asked one of the actors why she had decided to cajole her husband as I hadn't gleaned that from the text even though I felt it worked. She clarified that she had decided that this is how she got her husband to be more malleable. Together we worked on exploring their behaviour and motives and decided they both had the same goal but had different ways of achieving it.

To enable me to experience something from somebody else's perspective, I asked her direct me in this way, so I could see what her intention was. We had both had the same backstory and we realised that we had played similar parts before and we were bringing past performances to this role. Rehearsal time was limited so it was necessary to reflect-in-action and reflect-on-action to make sure I was bringing something new and fresh to this performance. My motivation was that I was trying to calm my husband as I thought he would be extremely nervous as the household were being visited by a member of the royal family.

The actor in turn asked me about my choice of voice for the maid. I wanted to suggest that because she was a lady's maid, and it was usual then for servants to work for one family and progress up the ladder, that she might have had a local accent but may have tried to improve herself.

My view, with reference to my performance didn't change. but by being open and willing to question my own and others work was a solid base to approach from. I also now have another way of approaching a similar script if I am faced with this situation again. It is always beneficial to consider alternatives and not just because it broadens our repetitoire.

I felt it was a valuable reflective experience as it re-affirmed that the length of  the piece is irrelevant as we still need to commit. We bring our past experiences and performances with us so we call upon them if we need to. I wanted to explore the thought process of other actors as we hadn't had much time together to help create a more cohesive piece.'


For ethical reasons I have not named the other  actress and I am sure she will not read this, but believe that although she shared in my experience, my blog would not be improved by doing so and of course I respect her privacy.

And in case your wondering I was cast and recorded  the Ladies Maid!

Looking back task 1a

These are some of my thoughts and reflections since starting the course, and the developments made, regarding what has been achieved through analysing fellow students comments and how their comments have helped me.

Reading people profiles and changes to their CV's has been enlightening. Although most did not make major changes, ( Eleanor admits to having re-written hers from stratch), the changes seem to make them happier with their new version.

We constantly grow and change as performers. We may view things differently and learn new skills that reflect in the way we perceive things and this is in turn may affect the way we write about ourselves.

Eleanor writes that she -
"prioritises my skill set to to how I wish to be portrayed as a performer" and she was told once do something everyday to further your career. A good practice for when you are feeling powerless or have lost momentum. You can take back control and do something that will help you towards your goal.

 She also mentions that she has shared her blog posts on Instagram and is going to see what affects this has. It will be interesting to follow this. Her bold colour choice works with her photo and it reflects shows maturity and confidence.

Lauren's image is strong and stands out and makes you want to read her text. She states that she thought about Jennifer and Eleanor ideas and comments when she updated her work.

Lauren commented on  my profile as she was interested as to why I described myself first and then mentioned professional engagements. I did this as a wanted a different feel to the profile from my CV. Also, the fact that I have worked as an adjudicator and my intention is to be an external speech and drama examiner  I will need a new one that highlights my academic qualifications as well  performance.

Jessica D uses the expression "Quality not Quantity" which is so important whatever stage your career is at.

Emily has two different CV's, which is usual in the industry in the beginning, and it made me smile when she mentioned her "normal" CV is the non-performance one. She also added an "about me" section. I agree with her that we need to "be specific" and that we are all unique. This is so true and your unique selling point is "you".

Henry's profile reads very well. He comes across as a motivated, talented and hard-working individual. His photography is exceptional and the survey he is going to carry out with regards to his audience thought's shows he doesn't just perform for himself but cares about how it affects others.

Jenifer realises her didn't have much information so she added relevant facts to flesh out hers.

Taylors was fascinating. How many performers get to work in a travelling kids circus!

Kirsty has a "chatty" style which makes her seem approachable. It isn't overly long and  keeps to the point.

Jessica S profile changed from 7th to 25th Feb making it shorter and "punchier " but still contains all the necessary information.

Ronna reminds us of the ethical considerations and uses a watermark presentation of dancers on her re-worked versions to make it more individual and stand out in a sea of information.

Dominque Davies has just put up a new blog with her CV and profile. She describes "making her piece of paper become a person". I think that is a excellent method for approaching a CV or profile. It needs to be real. It reminds me of the scene in "A Chorus Line" film when the director asks them to tell him something about themselves and  he becomes angry because they are affected and try to impress him. He wants honesty from them. Who they are. Acting is truth.

Promodos profile mentions " conscious effort to find some connections." Such good advice. I do believe that we can make our own "luck" by trying harder. It's funny how the hardest workers always seem to be the "lucky" ones.

Because we have been sharing thoughts in our blogs it feels that we comfortable with the process of reading each others profile, commenting and tweaking them to improve our own.

All the above helped me to reflect and develop my own CV and profile. Lauren's comment on mine was useful and am sure all of our CV's and profiles will be considerably different by the end of our course. I will be updating mine as I need to have some more photographs taken as I am going to be working in other aspects of speech and drama.

The changes made and the explanations as to why they were made were insightful. Adapting your current CV to a professional profile helps to see yourself as other see you. You only have one chance to make a good impression.

Shared thoughts, shared knowledge, shared success.

Skype with Adesola

Last night I joined the Skype conversations with eleven other students The first part I heard was Eleanor talking about reflective practice.

We then went on to discuss the our rehearsal processes and the practice interviews that the other modules are conducting. Lawrence from Module 3 said he tried to ask larger questions.

I agreed with this as I think if the person you are interviewing is nervous and the questions allow monosyllabic answer nothing will be gained. I believe that if you ask a question that allows them some artistic freedom you will get a better sense of that persons abilities and creativity. Semi-structured interviews were talked about, keeping an organic feel to them so they are never the same and can grow.

Comments were made on sharing significant moments to help others with their studies. It feels if we are generous with our thoughts the payback is that people share theirs with us. Keeping us open to all ideas and practices.

I do keep a professional journal and the importance of doing this whilst on the course and after was reiterated by Module 3 students. It isn't enough to say I did it. We have to ask why did I do it? How did I feel? Would I do it again and if I did what would I do differently?

We need to analyse and critique to allow our practice to develop.
.

Verbatim theatre

BBC 2 10pm 5th March 2017 (or iplayer)

London Road" based on the National Theatre musical concerns the trial of Steve Wright.

It is Verbatim theatre (a documentary play constructed from the precise words spoken by people interviewed about a particular event or topic). Wikipedia.

It features Tom Hardy, Olivia Coleman and Anita Dobson.

I saw it 2015 when Rufus Norris the director spoke about his process when filming.

I think it is worth watching as it a genre not used very often

recordeddelivery.net

Flickr Task D

Here is my flickr address

flickr.com/photos/147990611@N02

You Tube" Now you See Me" - Audio visual task c

Here is the link to my audio visual you tube.

It is short because as an actor I tend to be quite vocal.

As an adjudicator and examiner I need to use my time productively and be concise in my judgements. Some adjudications are directly after a festival and there are always time constraints.

So, I deliberately made this choice. I'm sure I can film a longer one if needed!


youtu.be/aUqe8wNjMSE

Guess who?

When I turned on my computer this morning one of the first images I saw was

"From A-list actress to old man"
The Telegraph 3rd March 2017

As I was writing my blog on Task d "The importance of images in social media" I found I wanted to re-visit this image. I didn't look it for very long as I was curious who it was and of course when I discovered this, it was obvious by looking closely at her eyes. It confirms the fact that

an actor/performer is a person who can be anything or anybody regardless of sex or age or another perceived boundaries.

Maybe that's what gets us up in the morning. Just that very thought.

telegraph.co.uk/films/0/elderly-gentleman-really-tilda-swinton

Nice to meet you

The Digital Stranger (task 1b and 1d continued).


I have just read the article by Peter  Bryant "The Digital Stranger, Participation, Social Networking and Creativity".peterbryant.org

He asks how many of us have met on our course and

"Does this level of  knowledge about them impact our interaction?"

which is a question I blogged about in Fast Track Degrees is also relevant to task 1d "The importance of the images and audio-visual in today social media."

The blog with photographs help us to think about the person who is sending them. Skype helps us to put a face to a name. Show reels show us what they can do.

He quotes -
"Social networks are effective at increasing participation by lessening the level of motivation that participation requires".

And concludes with
"Social networks participation has provided the environment and the community to begin to interact."
believing they have a more positive effect than negative.

I hope that as many people as possible can make the campus sessions. It really would be nice to meet you.

"There are no words without pictures" Task d

When using social media what do you prefer long, dry pages of text or shorter ones with images that help replace some of the words? If it's the latter your not alone. A study by Curata ( a content curation agency) showed that images can increase "clicks" by up to 50%. .

An image can grab our attention. It can make a page "pop", it can even encourage us to read it when weren't going to. Humans with a short attention span will make a judgement within a few seconds. Images require a speedy response.

Images engage us immediately. We are wired to be receptive to them. Images help us to communicate by using our eyes, our vision.  Jeff Bullis states
"Photos are becoming a universal language."

Of course this makes sense. Even if we can't understand or read a language, a smiling face, fantastic location shot or yes even a cute kitten can say a thousand words (give or take).

His article "6 Powerful Reasons why social media should include images" is simple but effective. Although tailored towards sales, our professional practice might benefit from this self-promotion.

A poor quality or choice of image can devalue a good text and needs to be considered carefully especially if it is a idea to be shared. Used correctly it greatly can enhance the presentation.

There is increasing appetite for all types of images and audio -visual presentation in social media. These include Pinterest (used for sharing ideas), Instagram, (on-line mobile phone photo/video sharing app), Snapchat ( video that disappears after a few seconds) and Vine (an app based on six-second video).

Photo, videos, graphics, pictures, slides, animation are all being used more frequently in social media.
Wikipedia describes Infographics as "graphic visual representations of information, date or knowledge intending to present information quickly."


Three key sentences from Ekaterina Walker the author of "The Power of Visual Storytelling" stayed with me -
"visual storytelling is the new currency"
"attention is the new commodity"
"viewers spend 100% more time on a web with videos."
confirming the importance of images and audio-visual as part of social media.

It is strangely comforting when people's faces accompany their blog comments. Making us feel that they are really saying it to us and not just writing faceless text to share with the community.

How many times have you heard somebody say they felt they "knew" an actor based only on their professional performances? This is the power of images and film.

Digital storytelling is a computer based tool that tells us a story. The usual format is a short video with pictures and background music although there are endless variations. It is a personal audio-visual presentation generally to be viewed. Windows and Mac have apps that can be used to this effect.

Donna Moritz on socially.sorted.com .discusses how our telephones can be a radio, television and even our own publishing house.

Flickr is a on-line photo management/sharing application and its photos are not all for public use. It uses Creative commons licensed content as an alternative to full copyright. They is a non-profit making organisation). Upslash has a good selection of stock photos for free.

Regarding the implication of  using social media with or without images, as well audio-visual presentations, it is important to remember "ownership". Technically, if you have designed and created any social media posting you "own" it. You can sign an agreement that allows the person who may have commissioned your work to own it with your permission. There can be "grey" areas. You "own" your work for the duration of your lifetime or for seventy years after (as is the case with plays).

However, you  MUST read all the conditions of each site as they vary. Privacy policies normally in very small print somewhere on the page, are worth investigating as they can protect your professional reputation or a vulnerable person or minor.

"Legacy Locker" is a "digital safety box", an on-line tool, that allows beneficiaries to access your account when you are no longer here.

People like to pass on quotes, little word bites. As he great man himself said -
"There can be no words without pictures."
Aristotle

Imagine Maya Angelou

I have just watched BBC 1 "Imagine .. Maya Angelou - Still I rise". Maya was an actress, poet, activist and a writer. She was a true artist and I hadn't realised how many famous and influential people she knew.

She was a phenomenal woman. Watch this programme - you wont regret it.

Task 1 b Reader 1 Professional Communciation Technologies

Web based technology has made a difference to professional practice because the everyday use of technology has altered how we work. It can be utilised as tools, a practical aid to assist and to bolster our knowledge. They were not readily available when I first began working in performing arts.

My initial thoughts after Reader 1 was that Web 2 can assist us to make decisions quickly but this   can make us feel there is a NEED to respond by return. I wonder does this give us time for preparation or is it good that we are always ready to go? When working in performance it is essential to allow ourselves the time to be creative.

I  read Reader 1 multiple times and I found my initial thoughts have changed. Part of this process has been my own researched aided by blogging and commenting and the feedback from the other students.


My current technology skills are limited as apart from research, I mainly use my computer as a word processor but since starting the BAPP they are improving daily. I assimilate it to learning a musical instrument, when you can read as much theory as you want to but you need to practice, to keep hitting the keys even if it is discordant in the beginning. Eventually, you will be in tune with the others and writing your own piece.

My own web technologies have improved as before this I had never Blogged, Flickr, or filmed an audio visual presentation. I embrace new skills and now find that I am doing the same with technology. I do get frustrated. Sometimes it takes too long (it feels I would be quicker to write in long hand and deliver the post by horse) but most importantly I don't give up.

Working in the arts, it may be assumed performers are gregarious and content to let the world know their every life choice. Having worked with children and young people with learning needs it was necessary for me to undertake DBS checks and to sign confidentiality clauses in contracts. I am a private person and respect the privacy of others. It is important to protect your professional reputation.

However, if used correctly, social media can be a very useful tool albeit for business or pleasure. Ensuring its ethical use is paramount. It is important to remember copyright must be upheld and un-authorised sources not quoted as fact.

Reader 1 Professional Communication Technologies aroused my interest and so to help me to familiarise myself with the technology and concepts I sourced Daniel Nation Lifewire The Web 2 Glossary Oct 2017. Typically the hyperlink on this didn't work but it is there.

Previously, the usual procedure for auditions would be for your agent to put you forward for a audition/casting. Looking for work independently without representation was not always easy. The Stage newspaper was an important publication eagerly awaited. The whole process could be protracted and time consuming and as they say time is money. Now with the speediness of communication and the advent of show reels performers are expected to be more pro-active in their search for employment. I think this also encourages self-generating projects which can help to keep your work current.

One of the articles I read was A Richer Education Experience about the use of  Web 2.
"driven by process - rather than content, such an approach helps students become self-directing and independent learners."
Higher Education in Web 2 Ann Hughes (Bellevue Consultancy 12 May 2009).

My initial thoughts have altered and developed. Whereas, before I would have not used my laptop as much, I realise that I am the one in control. I only need to read what needs to be read. I only need to respond if I need to respond. All the blogs on BAPP are different, one is naturalistic in style whilst another I like is very honest and acting is said to be based on truth. And yes, it  is a nice feeling when someone comments on your blog. I like receiving their response back to my response. The tutors are educating the students to teach themselves by all working together to share thoughts and processes.

Social media such as Blogs, Wikipedia, Facebook, Twitter et al are all tools used to convey, relay and allay information. They are practical because they rely on people participation. They would not exist if there was no desire to "share" promote or sell. Once a coined phrase of psychiatrists and psychoanalysts it seems many now need to "share". Is it the same kind of sharing? What does it tell us? It is possible some may need the approval of others in their life to make them feel they have achieved or our they just chatterboxes with typed words instead of voice?  Some more comfortable commenting from the warmth and security of their home and not face to face. If it is harmless and makes people happy then there is nothing wrong in that.

Either way it is in our lives until something new replaces it.

Once something has been invented it cannot be disinvented and Web 2 is a natural progression of how we communicate today and if used correctly is beneficial. I still want to read an actual book not kindle, listen to the news on the television or radio and buy a newspaper. If I want to use technology as a tool to get information immediately I do. It seems everything is there - at my fingertips.

Using professional communications technology can help you to be more professional and gives us the luxury of more time. Whether you spend it on your computer or not is up to you.

Fast Track Degrees

Fast Track Degrees 

Department of Education have just published the plans for Fast Track Degrees.

The representative of University Alliance thinks it is a good idea as although many prefer to take the traditional route and have the 3 year experience, mature students who are already working would prefer this sort of course. The course will be more intensive, with less holidays and more flexibility. N U S Vice President for Education is not sure.

This seems similar to the course we have already chosen. Do we already have this? Coventry is already running this module.

Various issues were raised in the interview including that the social element to a course is important,

I wondered if you feel we are missing out on the social side such as extra curricular activities to strength relationships etc which might help our progress or is this proposal a version of distance learning but locally?

You can vote on the poll if you type in Fast track degrees ITV news poll 24th February 2017.

The Female Diaries

After deciding to have an almost semi stream of consciousness in my blog I have began reading the diaries of two very diverse women who have contributed to the arts in some way. I have chosen to begin alphabetically as I knew this would ensure that I had to delve more deeply into my research.

I wanted also to have a thread, a subject that ties them all together, a common bond, whatever era they lived in, whatever their education, class or circumstance.

Louisa M Alcott wrote "Little Women" in 1868. Set after the Civil War the story examines the lives of four sisters. Louisa kept a diaries/journals from childhood until her death. They were not intended for publication. Her father was a New England Transcendentalist, a movement of philosphers and writers who adhered to an idealistic system of thought. Louise believed in the abolition of slavery, female emancipation and social reform.

  The "Lady Cynthia Asquith" diaries were written between 1915 - 1918. She was married to the son of the Prime Minister and kept a diary as a bet. Considered to be one of the most beautiful women in England she allegedly persuaded  J M Barrie (Peter Pan)  to change his will on his death bed and won the equivalent of "Who Wants To Be A Millionaire" in her lifetime.

On tomorrows blog I am going to reflect on some of their diary entries and use them as a stimulus.

Finally, what do you think the question that forward-thinking Louisa M Alcott was repeatedly asked was?

"Girls like to ask, who the little women marry, as if it was the only aim in a woman's life".

I think I know the answer to that one already. Any thoughts? ...

Hi Everybody

Task - -Update Personal Profile and CV

CV - changeable depending on audience in mind. Confirm what you do at a glance.
Profile - More static, relevant and easily sourced and focused on what you do. General broader appeal.

After defining the above I realised that mine are as stated. Below is my Profile and I will add my CV later.



Personal Profile

I am a highly motivated professional able to work on my own initiative or as part of a company. Possessed of an enquiring mind, I enjoy developing projects, as I am receptive and open to new ideas and skill sets.

I have a sound knowledge of professional performance practices and this enables me to work within different sectors. I love to motivate and be motivated. At the start of the day I look forward to where it will take me.

I trained at a London Drama School and am a long-standing member of Equity. Professional engagements include a nationwide tour of "A Midsummer Night's Dream and "The Gingerbread Man" and adjudicating the Kent One-Act Drama Festival.

I have managed my own theatre company for children, writing, directing and performing for schools as well as acting workshops and performing Shakespearean plays on the National Curriculum. Working as a founder member of a children's entertainment company enabled me to studying clowning.

Working in all mediums my professional engagements include, radio, television, advertisement, show reels, training information films, stage management, directing and a hotel ident based on the famous Marx Brothers film, "Cabin Fever", where as many people as possible crowd into a small space.

I am currently working on a screen play of a well-known American Philanthropist and Patron of the Arts and researching the changing role of women in theatre whilst studying at Middlesex University.

"To Blog, or not to Blog: that is the question?"

"To Blog, or not to Blog: that is the question?"

What is a blog? Well, it is a truncation of the word weblog, written in diary-type text and usually in reverse chronological order.

We have all been asked to write a blog, to keep an on-diary. Discussing anything that we want to. Amongst other things it may help us to understand why each of us have chosen this particular course. Enabling us to share our knowledge as many have already started or continue to be employed in their given profession. Whatever discipline or medium, we have embarked upon in Performance Arts, albeit acting, directing, writing, dance or choreography, we are all linked by our creativity.

What is a blog to me? I see it as a tool to bring us all together, (important on an distance learning course) to educate, stimulate and maybe even make us laugh. It will re-affirm we are not alone on this pathway. I like to think that the novelist Jane Austen, who kept a regular journal, would probably be an ardent blogger now.

So, what will my blog be? It will be glance at the past, that was composed in the writer's present, to be read now and in the future.

By reading the diaries of women who have contributed to all forms of the arts, I will discover  their world, compare it to my own experiences and seek relevance and truth in the world I inhabit. I am going to do this as part of my blog commenting on any subjects or questions they have asked but I will answer in the present.

A blog should not be a soliloquy or even a monologue. It might be a duologue but it will be so much better if it's a polylogue with multiple people blogging and commenting. So, what are we all waiting for?

So, the answer to the question is Yes I Blog. I Blog therefore I am. "Carry on Blogging" (possibly you may need to look up why I used that title) and that's the joy of this journey. We will all bring, take, share, learn and ultimately appreciate how alike we all our in our differences. Until next time...

"I never travel without my diary. One should always have something sensational to read on the train."  Gwendolen "The Importance of Being Ernest".

"People who keep journals have life twice". Jessamyn West (Author)

"Art is a form of consciousness" Susan Sontag (American writer/political activist).