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