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.