Monday 12 December 2016

Unit 1 - Skills development in performing arts (development plan)

Voice production techniques
During lectures I have been introduced to a few voice production exercises such as the intercostal diaphragmatic exercise. At the start of the term I was really struggling to carry out the exercise but now that I have had lots of practice, I am now able to carry this out at a moderate level of difficulty.
Target - Next term I will be focusing on extending the breathing technique so I can hold long notes for longer and improve phrasing in spoken word passages. I will also need to continue practicing the diction exercises as I still find ‘thah, vah, zah’ a challenge.
Expression in performing arts
I am working towards developing a character in my duologue ‘Split Down the Middle’. I have applied diction techniques in my poem ‘Blessing’. Learning correct breathing techniques has impacted on my ability to deliver a song.
Target – I need to continue practicing intercostal diaphragmatic breathing to improve the quality of my delivery both in song and in spoken word.
Clarity of delivery in all areas of acting, singing and dance
On a Thursday we have been mostly concentrating on singing skills. We have been able to record 2 songs in the studio. When I first started the performing arts course I was a very shy singer and sang very quietly. Now that we have recorded in the studio twice, I am more confident with singing in front of my peers. Whilst in the studio it was made clear to me that despite having a microphone which amplified my singing voice, I would still need to project in order to produce a vocal performance.
Within performing arts lessons I have been learning and practicing some diction exercises. When I first started learning my poem, my diction wasn’t very good but now that I have been practicing these, they have really helped the delivery of the poem.
Target – I need to continue working on projection. This will enable me to communicate a performance more successfully.
Applying dynamics
Working within an ensemble to produce group songs has really developed my listening skills. This is key to understanding how to make a performance dynamic and maintain the interest of an audience.
Target – I need to ensure that I memorise performance materials as early on in the process as possible. This will then free me up to be able to listen to my peers in ensemble work and also to creatively express solo pieces.
Communicating performance work
I have not taken part in any college performances but I did take part in the Tapathon which was really well received. In my second experience in the recording studio, the professional engineer commented on my clear diction. He said as a result of my singing performance it brought all of the other vocal parts together and gave the overall sound clarity.
Target – I must try to maintain confidence and not feel inhibited when working with new creative opportunities.
Teamwork
I am tolerant, open to new ideas and enjoy working with others to produce believable performance work. Positive teamwork, listening to my peers is key to producing good improvised drama.
Target – My lecturer was fed back to me and has commented on my strong teamwork throughout the past term. I will continue to contribute to all elements of performing arts as I enjoy feeling that I am part of something and that I have a voice within it.
Dance techniques
Within dance lectures on a Wednesday morning, we have been learning about Alexander technique. I have never done this style of supported movement before so this was a new skill that I have learnt. I feel this would be of use to a totally blind person as it really addresses posture, gait and the way that we move our bodies. Also, it helps with the way that we sit and lie down and the way that we move from these positions.
Target – Next term I am going to lead a Learning and Leisure performing arts session. I am going to use some of the Alexander technique as part of this session, in order to support some of the less able students.
Drama techniques
I have commented on my physical theatre work in a previous blog. We have mainly been focusing on developing improvisation skills as these impact on a lot of performance work as they encourage spontaneity and responsiveness.
Target – An ongoing target for me is to work at being less inhibited in unfamiliar areas of performing arts.
Life skills (punctuality, attendance and engagement)
I aim to turn up to all of my performing arts lectures on time, if not early. I come appropriately dressed for the lessons in clothing that I am able to move well in. I bring all relevant materials to my lectures.
Target – Maintain this level of engagement throughout the academic year.
Responsibility for own learning
I carry out independent research outside of lessons which I then put into my blogs. I write blogs frequently and try to keep as up to date as possible.
I have also carried out independent learning for my diction exercises, poem and duologue. I practiced ‘pah, tah, kah’ firstly to memorise it and then I was able to say it faster and faster. This then helps my diction and this is already showing within the delivery of my poem. I practiced my poem and duologue to memorise the lines and then I am able to add expressing and meaning into the words.
Target – My lecturer has commented on the amount of work that I produce outside of the lecture. I am a methodical worker who sets aside time in the evening and at weekends to carry out coursework. This is evidenced in my blog. I will continue to work at this level for the remainder of this academic year.
Communication
This term I needed to identify a space where I could practice tap dancing with a peer. I approached the manager of thePoint4 sports centre and secured a room with a sprung floor for this purpose. I had to explain to the manager and negotiate a time for the space.
As I have a visual impairment, I had to ask the teacher at the Tapathon if I could move to a place where I was able to see the choreography more clearly. I feel I am proactive, I plan ahead and I have the confidence to speak to people even if I don’t know them.
Target – There are still certain situations where I might feel intimidated for instance having to telephone people to request information. I need to work on preparing what I am going to say beforehand and think about strategies which would help with this process. 


Wednesday 28th September
The aim of this lecture was to familiarise ourselves with our poems. 
To start the session, we did a short warm up including some vocal exercises. The first exercise was to make sure that the muscles in our face were fully warmed up. We stretched our lips out and our cheeks back and said an ‘ee’ sound and then pushed our lips out and together making an ‘oo’ sound. We kept repeating this gradually getting faster each time. I found this exercise quite difficult once we started to pick up speed but as we practice this more often, it should become easier. 
After the warmup, we looked at our poems which we had selected in the previous lecture on Monday. Our lecturer, Cara recorded our first attempt of sight reading our poems. Here is a link to my first attempt of sight reading:
Once I had finished reading my poem, our lecturer gave us some feedback. The first piece of feedback which she gave me was that my reading was stilted. However, for people with a visual impairment like myself, sight reading is difficult as we can read no more than 2 words at a time which causes the reading to be stilted. The main piece of feedback that I was given was a target to try and start learning the poem as soon as possible. When I was reading the poem from the sheet, my words were unclear as there was no projection due to the paper being in front of the paper and my shoulders were hunched. However, once I learn the poem, these two issues should not be a problem. Another piece of feedback was that the diction in some places was quite poor. This is an area in which I will need to improve on. Another piece of advice was that I need to be careful when reading the lines and to make sure that if a sentence carries onto the next line, it should still flow. The last piece of advice that I was given was that throughout the poem, I tended to stay within the same tonal range. This meant that I did not put much expression into the reading of the poem. Over time I will develop all of these so that it makes the poem sound more exciting. 
To finish off the session we set ourselves a target for the next session. My target was to learn the first 4 lines of my poem.


Monday 10th October
The aim of this lecture was to review our starting parts for some elements and to concentrate on learning our poems. 
To start the lesson, we started with the warmup. For this, we started by carrying out the intercostal diaphragmatic exercise. For this exercise we breathed in for 4, held for 6 and breathed out for 12. Here is a link to a video of me carrying out the exercise and also some comments from my lecturer Cara:
I carried out this exercise quite well as I did not move my shoulders. However, there was not much movement in the diaphragm so this is an area which I will focus and improve on. We then moved onto the diction and travelling exercises that we have had a brief look at in previous lessons. Firstly we looked at “pah, tah, kah”. Although I only just know the exercise without the piece of paper, I am unable to say the exercise with some speed. This will come over time as I keep practicing it over and over again. Here is a link to a video of me carrying out the “pah, tah, kah” exercise:
Once we had finished the warmup we moved onto looking at our poems. Between last week’s session on Monday and today, I have looked at the beginning of my poem a few times but I have not had time to learn it.
Our target from last week was to start to learn the first part of our poem and to learn the “pah, tah, kah” exercise. This means that I have partly achieved my target because although I did not learn the start to my poem, I did learn the travelling exercise. Due to me only partly meeting my target, the duration of time that I had to complete this target has been extended and I now have until the 17th of October to learn the first part of my poem.


Monday 28th November
The aim of todays lesson was to start to look at a duologue that we will be learning and developing over the next few weeks. We will be looking at sight-reading skills and starting to look at our characters too.
The duologue that our lecturer, Cara has selected for us is called ‘Split down the middle’ and was written by David Campton. It is about a couple who have been out on a day trip on a boat. It’s starting to get dark and foggy and they’re stranded out at sea wondering what to do. The duologue involves 2 characters, Josie and Fran. I am playing the part of Fran and Angel is playing the part of Josie. 
We first of all read through the duologue as our assigned characters. Once we had read this through once, we read it through again but this time we swapped the characters around. This meant that we were able to gain a better understanding of our character as we were responding to the character that we are actually going to be playing. We then read through it one last time, this time reading as our characters again. Here is a link to a video of our initial duologue which is being sight-read:
We were able to read this duologue through a number of times because our sight-reading skills are quite good even though we have a visually impairment. A duologue is a lot easier to sight-read as there is less to say at one time. For example, if you are reading a monologue, then it is just you speaking and therefore you have to read a lot of text without stopping whereas a duologue you have short breaks in-between lines when the other person is speaking. 
At the end of the lesson, Cara set us a target. This target is to learn the first 2 pages of the duologue which works out to about 10 lines each. We will assess this on Monday 5th December. 

Unit 2 - Professional practice in performing arts

Factors affecting jobs in the performing arts industry
The following report will highlight and discuss issues surrounding employment and opportunities within the Creative Industries. I have carried out research into gender, politics, class, ethnicity and age related discrimination. I have been shocked by my findings.
Older women are disappearing from TV due to combination of ageism and sexism, warns Harriet Harman
In this article written by Catherine Wylie, it tells us how much older women are affected within the performing arts industry due to ageism and sexism. Harriet Harman who is a labour MP, works as part of a committee known as the Older Women's Commission. This committee is run by the labour party and it helps to gain equality for women over the age of 50. It especially tries to working with the women nowadays as the roles and health of older women has grown significantly. Research within this committee has shown that when women who are working within the performing arts industry especially, and reach the age of 50, their “days become numbered”. A study conducted by the committee showed that although the majority of the population in the UK of over 50’s is women at 53.1%, the majority of the TV presented which are aged 50 and over is mostly men at 82%. This leaves only 18% are women. More research saw that only 7% of people involved with working in TV on and off screen, are women. Harriet also said that these figures which have come from many major broadcasters, show that ageism and sexism do not hit men in the same way as they do to women.
Miriam O’Reilly raised some questions about why there aren’t many women in the business over the age of 50. She started to question this after she won an employment tribunal against the BBC. Was this due to people not employing women over 50 or women leaving the business when they get to this age. She had interviews with several broadcasters and from this she said “they are committed to the fair representation of older women” however, this does not match the figures that have been conducted from the research.
James McAvoy: Dominance of Rich-Kid Actors in the U.K. Is "Damaging for Society"
In this news story conducted by Hollywood Reporter, it expresses James’ opinion on rich children within the performing arts industry. However, he clearer states that he does not have anything against actors who went to drama school, but he believes that there should be less successful actors coming from drama schools. He thinks this because it does not represent how Britain is today. He is worried that people from all social classes are not getting the same opportunities. Within the performing arts industry it is advertised as if you have to be elite to become a successful actor normally meaning that you must go to drama school however, this is not always the case.
A debate was set up with the British acting circle where Julie Walter who played Mamma Mial in Billy Elliot expressed her opinion about how aspiring actors within the working class sector were not able to afford drama school. This has been proven to the decrease their chance if being able to become a successful actor.
Arts Emergency
Arts emergency is an organisation that helps young people get into university courses within the arts such as drama, music, theatre, politics, humanities, etc. However, due to the high rising costs of university courses and degrees, many young people opt out of university and don’t even consider it purely because they are unable to afford it. This leads them to forcefully apply for a job but because they have no higher education qualifications, they are unable to find a job because the arts community is very competitive. Therefore the organisation’s main aim is to help disadvantaged young people so they can have the same chance at getting into university than anyone else. They believe that although these young people and their families may not be able to afford a university course, there are certainly ways around it and this should not stop the young person having a potential career in the arts industry.
All of the young people that are part of Arts Emergency are aged between 16 and 19 years old all of which are in further education. Arts emergency have several schemes which aim to help disadvantaged young people who are least likely to be able to pay for their education but will benefit from it the most. The main scheme in which the organisation runs is their mentoring scheme. Each individual is given a mentor which they are then able to talk to about their options, research into higher education courses and set reachable targets. The programme only lasts for a year but when they ‘graduate’, they still offer support if they need it. Another scheme that is run by Arts Emergency is networking. This enables young disadvantaged people to connect and talk about their aspirations. The volunteers who run the project have all come from TV, theatre, music, etc. so have a great understanding of what is needed to get into university or higher education courses. These volunteers also visit colleges to give talks and workshops about keeping your options open for higher education in the arts sector. These workshops aim to educate, inspire and inform people that they are able to aim high. The also work with young people and their families to educate them about the opportunities that there are in higher education. Young people that come from a poorer background may have parents who have no experience of the performing arts industry. This means that the parents of the young person may be very against the idea of their child going to university to study a course in the arts when they don’t know what it will entail. Arts Emergency therefore work with the parents, alongside the young person, to educate them that arts courses are extremely beneficial especially for their child who may be disadvantaged.
One of the main factors that effects employment in the performing arts industry is the amount of funding cuts and the high rising prices of university degrees and higher education courses. Arts emergency is an organisation that aims to reduce the effect that the high rising university costs will have on potential young people aspiring to go to university to study a course in the arts. Nowadays, to get into the performing arts industry, it is quite likely that you need a qualification at degree level but if young people are not able to access this, then there is a limited chance that they will be able to pursue a career in drama, music or dance.
Letitia Wright interview
The interview can be found here (11:30): http://www.bbc.co.uk/programmes/b07w5y0l
Letitia’s first main role in a production was in a film called ‘The Urban Hymn’. The film is set in 2011 in the time at which riots broke out in Britain. The film is based around 2 girls and their very strong friendship and support for each other.
She started acting when she was about 15 years old in secondary school. Once she had finished secondary school, she watched a lot of films during the summer holidays. Watching all of these films taught her that she needed to be persistent with her future career. She knew that she definitely wanted to go into the performing arts industry so she produced some basic headshots and sent these to several agents looking for work. Although Letitia was a very talented actor and started to think more seriously about her career, her mum wasn’t sure on the career choices that she was making. This is because Letitia’s mum had come from an educational background and acting wasn’t in her culture. This meant that she had to give her daughter a chance and trust her because at first she did not want her daughter going into the performing arts industry.
When Letitia got her first interest from an agent, she was asked to recite a monologue. Instead of looking for a monologue and learning it, she created a monologue herself and performed it in front of the agent. Both the agent and her mum were gobsmacked and the agent decided to sign her later that day.
When she was 17, she went for an audition where, on the advert it was specified for a young white female actor. However, Letitia made the executive decision to go to the audition even though she was black because she just wanted to show people her talent. The people running the auditions said they wanted to give her a chance of playing the role so gave her the job. Letitia also mentioned about how she believes that there should be more ethnicities and diversity involved in the performing arts industry.
She lastly went on to talk about the many projects that she has been involved with lately including a second serious of a show called ‘Humans’.
In conclusion, Letitia’s journey into the acting industry was not as straight forward as many other individuals. Letitia had many factors in which she had to overcome before going into the performing arts industry. Such factors are that her mum did not want her to go into acting because it’s not in her culture as she had come from a very educational background and she was in an ethnic minority. Another major factor that she had to overcome was that she did not go to drama school meaning that she had no major acting experience. Unlike most aspiring actors who were the same age as Letitia at the time, Letitia had no nepotistic advantages meaning that she had no connections within the industry to give her a leg up.
Andrew Lloyd Webber warns of diversity crisis in British theatre
A report that was conducted by Andrew Lloyd Webber recently expresses his opinion on the topic of black actors within theatre.
The report mainly focuses on how the theatre industry will start to suffer if the amount of black actors does increase soon. In his report he used the term “hideously white” in regards to the amount of white actors that there currently are in the performing arts industry. He made a point of saying that it is not only the lack of black actors, but also the lack of black people who are part of the backstage crew and technical team. Andrew Lloyd Webber went on to say “I passionately believe that the stage needs to reflect the diversity of the UK population or it risks becoming sidelined.” There needs to be more black people involved in the Creative industry.
Andrew Lloyd Webber stated that if there isn’t a change to this situation now, then it can have massive effects on how the industry runs in the future. There will gradually become less and less black actors applying for drama school because they feel like they are in a minority. Less black people enrolling intro drama school means that there will be less appearing within productions. This can also have an effect on the audience. Black people play an important part in the audience numbers and the less people there is in the audience of a production, the less money that is made.
I believe that there needs to be a change within the performing arts industry in regards to the equality for black and white people. Black actors are currently in a minority and white actors are the majority. Directors need to start accepting black actors even if the character has been specified to be played by a white actor. This will then mean that the audiences for performances will remain constant and theatre will carry on as normal.
Theatres under threat from £3.3bn funding cuts
Local authorities are being forced to cut their funding due to funding cuts from the Government. This has led to an estimated cut of £3.3 billion funding from local theatres. According to the Local Government Association, the funding situation is not going to get much better in years to come either as it will continue to decline. The funding cuts may lead theatres across the UK to be under serious threat as the cuts decrease. Some local authorities across the UK have stopped their funding for the arts already such as Westminster County Council.
There are arguments that funding for the arts should be, in fact increased rather than decreased. A statement from a recent interview with David Brownlee said that there should be at least one theatre company in every local area that is funded by the local authority. The local theatre is a place where the work created by and within the community can be presented and the local people can come and see what has been achieved. If the theatre has cuts and isn’t able to run, the projects created by the local community will be no longer and the local people will not be able to get involved in the arts.
Charlotte Jones who is the chief executive of the Independent Theatre Council stated that local theatres that are supporting by the local authority are helped hugely by the funding. She said that not many people realise how much these theatres are being supported with the funding and if this gets cut, the theatres will begin to suffer.
Darren Henley who is the chief executive of Arts Council England said that a strong connection between the local authority and the theatre is absolutely key.


In conclusion, from the research that I have carried out throughout this term, I have found that there are many different factors that affect employment within the performing arts industry such as ageism, sexism, funding cuts and ethnicity. I am shocked at the research that I have found. I believe that there needs to be more diversity within the creative industry. At the moment, the majority of actors within theatres are male middle-class white actors who are middle-aged. This needs to be minimized so that female actors, older and younger actors and actors from other ethnicities have the same chance as getting a role in theatre as everyone else. There needs to be an equal spread of actors from different backgrounds being selected for jobs in theatre. The funding for local theatres should not be cut as this can have massive effects on a local community as it can cause for the theatre to shut down as the theatre is unable to put on any productions.