Changes to inquiry tools

 A conversation with Paula led me too reconsider my original proposed data collection tool 'Questionnaires/surveys'. We discussed the reasons behind my decisions and upon reflection concluded that they lacked clarity and were unnecessary to my inquiry.

Original Proposal

'Questionnaires/Surveys

 I plan too create a questionnaire compiled of precise questions relating too my inquiry topic.  It is crucial FOR ME TOO CONSIDER Reflexivity and remain objective when structuring questions in order for my data to be valid during the analytical stage.  "A researcher's background and position will affect what they choose to investigate, the angle of investigation, the methods judged most adequate for this purpose, the findings considered most appropriate, and the framing and communication of conclusions" (Malterud, 2001, p. 483-484).

I will select a variety of both closed questions and questions allowing the participant too choose from a choice of declarations or a blank space allowing participants too openly answer the question written. Despite being aware that my findings will lack depth, I will make use of data in terms of breadth. This will enable me too study peoples perception of Musical Theatre and their methods of creating character in terms of their professional medium on a much larger scale. I will conduct a pilot questionnaire to establish questions that are gaining irrelevant responses or could be perceived as misleading.  I plan too utilize my knowledge of professional networking and web 2:0 when handing out my questionnaire. Professionals are local; I will hand out my questionnaires face to face; if this is not feasible

I will keep my questionnaire web based using sites such as survey monkey as the vast majority of professionals have access too the internet.

Providing A sampling frame, similar too the diagram below, will be put into place too ensure I have sufficient numbers of representatives ‘in categories or variables of specific interest’ Reader 5, page 24

I will take a qualitative and quantitative approach too analyzing data from surveys, firstly it is essential for me too create an easy too follow numerical coding system. Secondly I will use ‘Survey Monkey’ to analyse my coded data or create a spreadsheet if my surveys where handed out on paper. I will then review questions with open responses in a qualitative manner too reflect on occurring trends and the reasoning behind them. For example:

‘Do you believe there is a stigma surrounding Musical Theatre’?

1. Yes

2. No

3. Unsure

Please give reasoning for your answer……..

The above question will not only provide me with insight too peoples perceptions but also provide me with background knowledge of how the perception came about' Laura Gregory, 2016

Keeping a journal of my practice and experiences throughout the transition from Musical Theatre performer too acting for Drama will be vital to my inquiry, in order for me too make this personal journey. I will record all professional experiences and conversations and later evaluate my findings  in order too establish any development. 

Observation is a tool of which I initially ruled out of my inquiry, however since reviewing reader 6 for a second time, I realised it could be extremely useful. Below are the merits and limitations of using observations as a data collection method in relation to my inquiry.

Merits: 

• Qualitative visual data
• Experience first hand how rehearsals or performances differ in different mediums
• Different methods to record observations
• Examine physical behavior

Limitations:

• Time consuming
• Lots of ethical considerations

6B Tools and Methods

To gain a clear insight of the tools/methods I could potentially use to conduct my Inquiry, I reviewed both Merits and Limits for each one. I decided that 'observations' would be an unsuitable method of data collection due to the nature of my inquiry. 

Interviews

Merits:

• As the interviewer, I will have full control of the topics discussed and the style of interview. If I feel the interviewee is discussing something interesting I can delve deeper and ask why?
• I will have the power to select interviewees with expertise in my area of study.
• Answers will be detailed.
• Can record the interview using a dictaphone to later analyse as well as jotting notes, this way I will be able to pick aspects up which I missed in the first instance.
• Capture verbal and non verbal communication.

Limits:

• Can be time consuming
• Interviewee may be unable too attend
• Interviewee may be nervous and therefore be reluctant to answer honestly or be open.
• Interviewee may disprove of the interview being recorded.

Surveys

Merits:

•  People may be more honest if they are anonymous and don't have the pressure of an interview environment.
• Can gain information from a wider range of people. 
• Easy to share via web 2:0, Survey Monkey Etc.
• Quick and easy method too collect data

Limits: 

• Would have to really on the appropriate people to take part in my survey.
• Questions would be specific therefore I may not get all the information I require.
• It will be difficult too ask questions that are not too general or detailed.

Documents

• Merits:  
• Literature could supply me with more knowledge and back up my findings.
• Could potentially use sites such as spotlight too see if there is a correlation between where people have trained and working in different mediums.

Limits:

• There is a limit to the amount of documents I could view. 
• I would have too know more about the professional CV's I was viewing as people have different career choices. 

6C Proposed Award Specialism Title

I would like to propose my award title to be BA Hons in Professional Practice Acting.

In order for my inquiry too be meaningful. I have decided too focus on an area of the Arts I have a strong interest in 'Acting'. I have a great yearning for success as an actress and as a insider researcher, intend to explore, investigate and expand my knowledge too improve my professional practice. Since graduating from the Professional Musical Theatre course at the Hammond in Chester, I have worked professionally in Musical Theatre and Pantomimes. Roles I have played too this date have been heavily acting based which have spurred me too strive further in the world of acting and move onto straight plays and screen acting.
I have chosen to focus my inquiry around the transition from acting in Musicals too acting in straight plays. My aim is too investigate and compare how performers approach creating character and prepare for roles in both mediums. I will also research how Musical Theatre artists are perceived in terms of straight acting and whether this has any effect on making the transition as well as looking into the amount of Performers working in both mediums and there backgrounds. I will use my inquiry too not only too aid my progression but also too inform  Musical Theatre artists who wish too focus there attention on one aspect of the arts whether it be dancing, singing or acting.

Literature Review 1

Title: Uta Hagen Respect for Acting

Published: September 1973 by Wiley Publishing

Final Edition: 2015

As my inquiry will be based around transitioning from a Musical Theatre background to a career in straight acting both on stage and for camera; I decided too read Uta Hagen’s book about her experiences as a professional actress both on stage and screen and her life as an influential Drama teacher.

Uta was a German-American actress renowned for her work on Broadway and her short lived career in Hollywood. She was black listed from the film industry due too her association with Paul Robeson. She later taught at the Prestigious Herbert studios in New York. 

I read the whole of Uta's book and was utterly fascinated by her passion and dedication for the Arts and also her intricate ways of developing 'real life' Characters. From reading other BAPP blogs I have established that our Literature reviews at this stage are too be kept brief and are there too provide us with subject and research knowledge or our potential inquiry topics. For this reason I decided too focus on aspects of the book in which I could relate too my developing questions and current professional practice.

The book focuses particularly on acting in straight plays, however, occasionally makes reference too film. What I found interesting is that Uta refers too acting and character development as a whole. She does not discuss these in terms of mediums which suggest to me she uses the same technique regardless of the medium, having said that, this is just an assumption. Uta only makes brief comments about her film career; if she were too discuss this in more detail, my findings may differ.

In Part 1, The Actor, Page 17-18, Uta Discusses two types of acting.

Representational (external): 'deliberately chooses to imitate or illustrate the character’s behaviour' 

Presentational (Internal): 'attempts to reveal human behaviour through a use of himself, through an understanding of himself and consequently an understanding of the character he is portraying'

She explains how she uses Presentational Acting in her own work and also teaches using this method.

'I teach acting as I approach it, from the human and technical problems which I have experienced through living and practice' Uta Hagen, Respect for Acting, Page 18. 

Uta recognises that every actor is individual and can be successful regardless of the technique they choose too adopt.

'I do not reject in toto the representational, to do so would be to reject actors of brilliance who have found success along the path' Uta Hagen, Respect for Acting, Page 18

This quote relates too an early potential line of inquiry question I proposed. 'Which is better, Technique or Method acting?' the quote has enabled me too re evaluate my question and realise that my question is unethical as I made the assumption that one is better than the other. I plan too look through my other inquiry questions and check for bias and assumptions.

Uta later discusses the importance of training the outer instrument (voice and body). This is a pivotal part of Musical Theatre training in most establishments. We train our bodies through dance and our voice through both singing and speech. This certainly is an aspect of my training which lends its self too acting in all mediums, I also studied 'Alexander technique' which I am aware is very popular both on acting and Musical theatre courses across the UK. Alexander technique is a method used all over the world to improve posture and voice. 

In Part 3 of her book 'The play and the role', Uta discusses the process of bringing a character too life. An interesting point Uta Makes is that during the first read through of a script, we are audience members rather than actors. We laugh, we cry, we imagine the characters, relationships and circumstances as audience members. She emphasises the importance of reading the play as a whole too make considerations before delving into interpreting character. Regardless of the medium audience members are a vital part of our performance and it is important too see from their point of view. 

Throughout the book Uta makes reference too a set of questions she uses too create a character:

Who am I?

What Time is it?

Where am I?

What surrounds me?

What are the given circumstances?

What is my relationship?

What do I want?

What is in my way?

What do I need to do too get what I want?

Uta answers these in depth. I am aware of these questions and was encouraged too use them throughout my musical theatre training to develop character. I have never looked at these questions in as much detail as Uta. Uta considers every intricate detail. She believes that the more background knowledge we have about our character the more human behaviours will arise out of instinct and in turn create a realistic character. 

The rehearsal

Uta discusses ethical principles which she deems important when beginning rehearsals. In my opinion these are relevant too all mediums and therefore trans-disciplinary. 

'Be good colleagues! Be professional in the best sense of the word. Never tell each other what to do or what not to do. Make yourself responsible for serving the play and your colleagues, but don’t make them responsible for being at your service. Remember that egomania has been one of the chief causes of something being rotten in the state of the theatre. Don’t let yourself be a part of that'

As well as some of the above rules being natural instinct, I learnt about remaining professional, not directing other cast members and remaining grounded, through working in Musical Theatre.

Uta discusses the rehearsal process step by step through out this chapter. Uta’s experience of rehearsing for a straight play seems too differ quite a bit from any Musical Theatre. The process seems much slower and focuses intensely on building relationships and creating contexts and character building. For example, Uta discusses the stage around her. She asks her self more questions. This time regarding her relationships and the circumstances. She delves deep into aspects that some actors may over look. If there is a window on stage Uta sees beyond the window. She takes into consideration what she can see out the window, the curtains, what's on the window ledge? In my experience, Musical Theatre rehearsals focus on character building and building relationships but nowhere near as in depth. Rehearsals are not as long and emphasis is paced on choreography and learning music.

Another aspect of Uta’s work that differs from Musical Theatre is how she believes actors should have free reign too jump in and cut your line or maybe move too a different place across the stage. I do have my doubts about this statement. As even in straight plays the director has final say and if actors go against blocking set in rehearsals it may affect lighting cues etc. In terms of Musical theatre, if blocking was changed actors in the scene may disrupt choreography, or if a line is cut it could be detrimental too music ques. 

Ethical Considerations in relation to my Inquiry

I decided to do some extra reading in relation too my Inquiry and came across BERA (British Educational Research Association). They provide an ethical Guidance frame work to help with educational research Inquiries. I will use this information too ensure my inquiry is ethically sound.

The association considers that educational researchers should ensure all individuals are treated fairly. As the inquirer I will also be required too be sensitive and respect participants ethical beliefs in regard too culture, race, religion, politics ETC. I will also require consent from all involved (for this I will use the Ethics release forms provided by Paula). The guidelines state that 'Researchers must take the steps necessary to ensure that all participants in the research understand the process in which they are to be engaged, including why their participation is necessary, how it will be used and how and to whom it will be reported. Social networking and other on-line activities, including their video-based environments, present challenges for consideration of consent issues and the participants must be clearly informed that their participation and interactions are being monitored and analysed for research.' BERA Ethical Guidelines, Page 5. 

I plan on doing this using a written method and also explaining in person during interviews. I will also explain to the participants that they have the right too withdraw at any time and advise them that they are entitled too a copy of any documents containing personal data relating too them. Having said that, this may not apply too certain participants as they have the right too remain anonymous. If participants do not wish to remain anonymous, I will follow the Data Protection Act and ensure I have permission too use the personal information beforehand and keep the data secure.

In terms of methods, the guidelines explain how important it is too make sure findings are reliable, valid and generalisable. I will present them in a professional and straightforward way suitable for my targeted audience. I am already thinking of ethical issues arising from the methods I will be using and will discuss these in my SIG.

Below is a link to my SIG, I would be very grateful if you all could join and discuss ethical issues which may arise due too my chosen research methods and Inquiry topic.

Transitioning into a New Medium in the Arts SIG

Bibliography:

https://www.bera.ac.uk/wp-content/uploads/2014/02/BERA-Ethical-Guidelines-2011.pdf?noredirect=1 BERA, Ethical Guidelines for Educational Research, 2011

Thoughts on Reader 5

In this blog I will discuss key aspects of reader 5. I decided too focus on key aspects of which I could relate too my professional Practice.

I found the following very intriguing.

Personal-Professional-organisation-Society (Contexts in which ethics operates)

I work extensively in Theatre's and if there is one thing I have learnt it is that EVERYBODY KNOWS EVERYBODY. A very important personal ethic of mine is too not discuss industry professionals, companies, agents etc with fellow performers, I do not mix business with pleasure and make a conscious effort to remain a positive hard-working attitude and be supportive to my colleagues . As demonstrated in the Diagram above; Ethical issues in one context can overlap or have effects on ethical issues in another context. An example would be if I spoke negatively about a colleague and others found out. It could lead to me being disciplined or hurt peoples feelings this would be a problem in a close working environment such as the Theatre and could possibly affect relationships between cast both on and off stage. As I mentioned previously EVERYBODY KNOWS EVERYBODY word spreads fast. Therefore by behaving unethical in such a way in a professional contract I could jeopardise my chances of working for others in the future.

As stated in reader 5, page 7, Middlesex University, ethics isn’t always a case of black and white, there are grey areas. I have witnessed actions and behaviour in the work place that could have potentially had a negative impact on both my colleagues and my own professional practice. In this instance I was confused on whether too stick too my personal ethics and stay out of the situation or step in and speak too a person of authority, I had too think of the consequences of each and make an informed decision.

This would make me a consequentialist, Consequentialists believe an act is only morally right if it maximises the good,

In relation too case study one, I would speak up regardless of whether I wished too protect my image as peoples health is much more important, the article states, that there is no statuary obligation too speak up. If people spoke up innocent lives could be saved and in my opinion people should always speak up in this context, however in the theatre things could be different. It is very rare that a life could be in jeopardy and ethical issues may be minor in comparison.

As selfish as this may sound; as performers we are self employed and how we portray ourselves and our character is a massive part of our job. We are often required too think of ourselves. This is something I find really difficult to adapt to as a person who often puts others first. In the professional arena we have to look at the context and severity of a situation before getting involved and decide which is the best ethical outcome for ourselves  (to an extent) or else it could be detrimental too our job. I must emphasis to an extent as if a child or even an adult were in a vulnerable position or a performance was in jeopardy I would always remain professional and speak to a person of authority.

Task 5A

Ethical Issues Which may arise in my professional Community

Before attempting this task I assumed this task would be straight forward, however I am struggling too think of ethical considerations off the top of my head.
I am privileged enough too have worked with numerous professional companies in a variety of performance venues. I am currently blogging from my dressing room in  the interval of a show as I feel as though I am falling behind with module 2. Below I have created sub headings of the professional settings I have worked in and have bullet pointed ethical considerations of which I believe apply for each one. (WITHOUT REFERENCE TO DOCUMENTATION OR DISCUSSION) After the show I will look through my contracts ETC and discuss points I may have missed.

Childrens Theatre performed in schools:

• Must be CRB checked
• Safe Guarding issues - Always speak too a teacher or safe guarding officer if issues arise.
• Always follow school signing in procedures.
• Fill in daily Log Book
• Follow safety procedures when unloading set

Performing for professional companies in Theatres:

•  Follow signing in procedures.
• Keep casting information private and confidential until press release.
• Never accept under age friend requests on social media.
• Follow correct rehearsal clothing procedures.
• Follow correct absence procedures.

As a performer I remain professional at all times and do not discuss other professionals of whom I work with.

Developing Lines of Inquiry 4C

Yesterday I had an enlightening conversation with an industry professional that both performs as an actress and teaches. I was in a state of complete panic and confusion. I felt as though everybody else embarking upon the BAPP adventure, had a clear career focus in mind and were already well on there way too achieving it. I however am still in the stage of figuring that out.

The variety in my career at the moment left me with no clarity in which way too go with my Inquiry. We discussed my new ideas for developing lines of inquiry and also touched on my original ideas.

1. How Do Actors create and develop character?

We discussed how this question is very vague and unspecific. People have different methods of creating character that work best for them. These methods could vary depending on the type of training they received, personal experiences and also the type of acting job, This may not help me or anybody else for that matter progress from Musical Theatre to straight plays and acting for camera.

'People may approach creating characters differently depending on the discipline' anonymous (March 2016)

This was a quote I found really interesting. It led us to discuss how all of my inquiry questions where very similar (particularly questions 1 and 2) and only focused on creating character. I explained that I chose to base my inquiry around acting technique and building character as I wanted to begin working in straight plays and for camera as well as Musical Theatre. We then talked about how there are many other factors surrounding the transition from Musical Theatre to acting in straight plays such as, technical factors, style, networking with professionals in the straight acting 'world', the stigmas attached to Musical Theatre and also self promotion. Some of the ideas which arose are very similar to my original ideas in blog Task 4A.

After much deliberation I have decided too focus my inquiry on 'Transitioning from Musical Theatre to straight acting in plays and on screen. I will focus on questions such as:

How can working in Musical Theatre inform the work in straight plays and acting for camera?

Are there any similarities or differences between acting in Musicals and straight acting?

Do actors approach developing character differently depending on whether the role is  in a Musical, a play or on screen?

I will also consider my original questions regarding this topic in 
Blog Task 4A.

Emerging Inquiry Questions

How Do Actors Create and develop Characters?


 How do Actors Bring the Dialogue in scripts to life?


Which is more successful 'Method' or 'Technique' approach? What are the similarities and differences?


Is there a relationship between the actor and character? 


Do personal experiences and emotions effect how we shape a character?


Is empathy an important part of acting?


Does acting differ depending on the discipline?

Identifying knowledge and skills in the workplace

Identifying Knowledge and Skills in the workplace

What do I know:
Dance Technique 
Singing Technique 
How to act in Musical Theatre
How to behave in professional environments
How too network and promote myself as a freelance artist
Teaching skills

How do I know it?
Trained on a professional Musical Theatre course, however I have gained numerous skills and developed existing skills through working in professional companies, networking with other professionals, learning through experience (performing professionally on stage)

What Knowledge and Skills do I need for the future?
I have worked extensively in Musical Theatre, childrens theatre and Pantomime. I would in the future like too move my career forward by auditioning for straight acting roles both in theatre and TV, therefore, it would be extremely beneficial too look into acting techniques and character development. I will also consider other factors which may have a positive or negative effect on my success in the 'straight acting world'.



Do I work in a transdisciplinary environment?
As stated in reader 4 ‘Knowledge in the workplace can take a Transdisciplinary approach which infers a wider scope of understanding that crosses the boundary of all disciplines’ It teaches aspects of ‘real life situations’,. It involves focusing on new perspectives and contexts and also the ability to adapt, reflect and problem solve within our professional arenas. In my opinion it is an essential approach in our ever evolving world. 

I highlighted three particular words in the above paragraph which immediately stood out too me. It is, in my opinion, essential too apply these three strategies in order to be a successful performer and survive in our tough and ever evolving industry

Problem Solving and reflecting

 Problem solving is skill I discovered I had through the use of reflection since beginning my studies on professional practice.

 We are rarely able too predict when a problem will occur in the context of live performance and therefore, when one does, it is essential to adapt quickly and ‘reflect-in-action’. This is a skill of which I am capable and one that has continuously developed throughout my professional training. I discussed occasions of reflections in more detail in Task 2C. Reflection is a skill I use continuously during performance contracts. I reflect on rehearsals and performances and evaluate what wrong and what I could have done differently in order for it to be better next time.

Adapt

As a freelance actress, singer, dancer. I stumble across numerous situations in which I am required too adapt too quickly in order to be successful. I have noted them on the diagram below.

As well as transdicplinary, Interdisciplinary knowledge is also an integral part of my practice. Often as performers we a required too integrate all three art forms in a performance. I do a lot of musical theatre work in which dancing, singing and acting are all required too a strong level. I also take part in TIE tours which include workshops. I am required too have teaching skills for these tours along with subject knowledge and also safeguarding training.

Gibbons, 2008, Created too models highlighting the different approaches way take too learning, Mode 1 and Mode 2. Below I have listed aspects of the two.

Mode 1- Governing values:

-Achieve the purpose as the actor defines it.

-Win, Do not lose.

-Suppress negative feelings

-Emphasis rationality

Primary strategies-

-          Control environment and task unilaterally.

-           Protect self and others.

Usually operationalised by:

      

Face saving tactics

     

Treating ones own views as correct

Un illustrated attributions and evaluations.

Mode 2- Governing values:

        

-Valid information

    

 -Free and informed choice

         

-Internal commitment

Strategies include-

    

-Sharing control

        

-Implementation of action

       

 - Participation

Operationalised by-

-Attribution and evaluation illustrated with relatively directly observable data

-Surfacing conflicting view

-Encouraging public testing of evaluations

Mode 1 approach to learning is very restrictive and will not assist the process of learning. It would be inadequate to use this approach when considering my inquiry. Aspects of this model have been apparent in my professional practice until present; however I do feel I have progressed as a learner and began using mode 2 approaches to learning. An example of this would be how I have I questioned my original approach too beginning my inquiry before my deferral and discussed with colleagues new approaches I could take in order too be successful in this module I have also begun conversing more with other BAPP students via blog comments which in turn have already assisted me in gaining clarity on certain aspects of reader 4 and also inspired my inquiry process. In module 1 I was reluctant too comment on other blogs or ask for help in order too avoid embarrassment. I now understand how this could hinder my learning. Mode 2- is an excellent approach too teaching and a valuable piece of knowledge for students training too embark on a professional career in a tough and competitive field such as Theatre Arts. A mode 1 approach too learning could potentially lead too artists missing out on opportunities and limiting their training through fear of being wrong or embarrassment.  Every performer is individual and should be encouraged too excel and grab every opportunity with confidence.

Developing Lines of Inquiry (Module 2 revisited)

First Blog of 2016!!!!

Due too a hectic few months of performance contracts and a lot of confusion too which path too take within my inquiry I decided it would be beneficial too defer module 2.

During my time away from BAPP, I reconsidered my options for potential lines of inquiry focusing on my current professional practice as an actress trained in Musical Theatre. 

As explained in reader 4, a professional inquiry is a process which will enable me too further investigate, explore, evaluate and understand my professional Practice, whilst also identifying my unique learning needs. I will research my chosen topic to expand and clarify my current professional knowledge. The ultimate goal is too explore a topic which will benefit both myself and others within my practice whilst potentially furthering my career in acting. 

Following an enlightening conversation with Paula, I decided it would be beneficial to read what was expected of me and focus on key aspects of reader 4 and links to further reading.

 I found 'Blaxter and Hughes and Tight (2001) How to research, Chapter 2 'Getting started' p21-52) extremely helpful. I applied processes and information used in this chapter to ensure I was making the most of the early stages of developing my Practitioner Research Inquiry. A section that was particularly useful was 'Thinking of an idea for a research project'. The writer explains that this is often one of the most difficult aspects of a research project and provides the guidance points too assist with this difficult task. I found the following points very beneficial.

Regulations and expectations

This is something I previously neglected during my first attempt at module 2. I read through all information and moved on too tasks too suddenly without any in depth understanding of what was expected of me. On reflection this approach did not work for me and left me feeling confused and frustrated Since revisiting the module I have made reading and understanding what is expected of me my number 1 priority. So far I have found this approach very helpful and will continue too remind myself of what is expected throughout this module.

Ask friends, family, colleagues, Manager, Course Supervisor etc 

 Communicating within our social circles and professional networks and discussing possible ideas can be enlightening. Networking is an important aspect of professional practice discussed in module one and I can see how it will be extremely beneficial in this module. Associates within our different networks may lead us to question new possible research ideas and also open doors too new contacts who maybe of relevance to our inquiries. An interesting discussion with Paula last week led me to consider lines of inquiry in which would be beneficial too my career that I myself had overlooked. I will use this piece of advice further by discussing ideas in my 'SIGs'.

Look at Previous Research work

 I have been browsing through archives of previous BAPP research inquiries for inspiration. I also plan on using the summon tool too look at other small scale research projects particularly too see what possible methods I could use.

Quotes

I began researching quotes of which I felt strongly about.

Acting isn't really a creative profession. It's an interpretative one.
Paul Newman (January 26, 1925 – September 26, 2008), American actor.

I don’t believe in learning from other peoples pictures. I think you should learn from your own interior vision of things and discover, as I say, innocently, as though there had never been anybody.” 
Orson Welles (May 6, 1915 – October 10, 1985), American actor and director

'The main factor in any form of creativeness is the life of a human spirit, that of the actor and his part, their joint feelings and subconscious creation'. 
Stanislavsky, K. & Hapgood, E.R. 2013, Building a character,Bloomsbury, London

These are three of which I found most interesting. All three quotes related back too creativity and professional opinions on the process of acting/creating character.

Diagram

This is a tool of which I am very familiar with and use regularly. Below I have created a spider diagram of interests, issues and questions relating to my practice whilst keeping in mind all of the above information. I will analyse this diagram and create inter connections between key ideas to develop a set of potential inquiry questions. 

As well as providing me with material too assist me in choosing an inquiry topic, 'Getting Started' also proved useful in other areas. An interesting and in my opinion crucial point was 'The Goldilocks strategy'. This focused my attention to the potential size of the research project. As we have been given deadlines for our inquiries we must consider if our research project is going to be just the right size, not too big, not too small (hence the Goldilocks connections). I will also consider the resources I will potentially need and the resources I have access too in order too determine whether I have enough essential resources to carry out my research.