Rea Nurturing the outstanding Actor

Nurturing the outstanding actor

Rea (2014) conducted a social experiment in which he created a theoretical framework that defines qualities of 'the outstanding actor' based on three perspectives:

• Student Actors
• World Class experts
• His own conclusions from experiential research (Rea 2014)

In total he asked 350 actors/actresses 'What qualities and skills make an outstanding Actor?'
Below is a  list of skills and qualities of which came up regularly by participants.

Danger

Unpredictability

 risk-taking

 daring

 bold

choices

 courage

ability to surprise

Presence

Magnetism

focus

 compelling

 limitless

projection of energy
 confidence

Warmth

Incandescent generosity

a twinkle in the eye

joy

openness

Effortless spontaneity

 freedom

 relaxation

 openness

playfulness. 
This influenced me to carry out a similar social experiment. I asked performers from my communities of practice, peers and anonymous performers on a social media platform (125 in total)
'What skills and qualities make a Musical Theatre performer outstanding. Surprising upon analysing results and comparing both lists many skills and qualities mentioned were similar to those of Rea's results.

Charismatic
Energetic
Passionate
Spatial Awareness
Commitment
Focus Dedication
Musicality
Knowledge
Characterisation
Courageous
Daring
Brave
Versatility
Reliability
Flexibility
Thick Skinned
Stage Presence
Star Quality
Connection with audience and cast members on stage
Listening
Reading
Ability to reflect
Hunger
Being comfortable with being uncomfortable
Collaboration
Intriguing
Good energy
Awareness of self
Awareness of character





  

Estill Voice technique

Estill technique is becoming one of the most widely used singing techniques in Musical Theatre and is now being developed in relation to how EVST ccan benefit actors.


Estill Voice technique is a contemporary technique created by Jo Estill (1998). The study explores how to control and manipulate multiple anatomical structures that house the voice to create different qualities and artistic styles for effective communication between the singer and performer.

Jo Estill states the benefits of EVST are:

• Replaces mystery of how to use the voice with knowledge
• Reduces performance anxiety and increase relaxation
• Promotes confidence
• Empowers students to make choices
• Provides vocal variety
• Leave nothing to chance
• Leads to balance of Vocal Health and aesthetic freedom

The components of the voice studied in relation to singing and speaking were:

• Larynx
• True vocal folds onset/offset
• True vocal folds body cover
• False vocal folds
• Thyroid cartilage
• Cricoid cartilage
• Epiglottis Sphincter 
• Velum
• Tongue
• Jaw
• Lips 
• Head, neck, Torso

These Components are used in a variety of ways to create the following voice qualities. In relation to my inquiry these qualities are used to convey character through song.

• Speech - This quality most commonly occurs in Musical Theatre productions and is very close in vocal range to actual speech
• Falsetto- Used to convey sweetness, a sense of innocence and purity
• Sob- Convey emotional sadness, pity
• Twang- Contemporary Musical Theatre character voice style
• Opera
• Belt-Often used to convey a sense of power, anger, despair, and positive strong emotionals (can be compared to shouting)

Variables seperating acting through song and acting through speech

Why is acting through song so different?
Journal of Singing
Vol 64, No2, pp 167-173 Nov/Dec 2007

Millie Taylor states how there are more variables in acting through song in a musical then acting through speech. Through her article she differentiates between the two.

• Actors in dramatic plays and on screen are alone on stage they don't have music to support there character.
• Actors possess the autonomy in straight acting to vary delivery of the text as they see fit.
• Taylor (2007) discusses how a script can be read in numerous different ways depending on emphasis, intonation, integrity, spacing, timbre, mood and tempo.

Variables between acting through speech and acting through song

Tempo- Actors have freedom to speak at whatever pace they deem necessary.
             Singers are confined to following the tempo of the song.

Rhythm-Actors tend to seek a more naturalistic expression of text. 
              Singers are locked into designated rhythms.

Melody- Actors can vary pitch according to emotional state of character/type of character.
              Whether as singers pitches are pre set and to sing off pitch would be deemed incorrect.

Pauses- Actors have the freedom to pauses for however long.
             Singers pauses are known musically as 'rests'. They appear between words and phrases and are musically counted.

Notes- Can be made longer, perhaps this is a positive as it gives the performer more time to convey emotion.



On relfection of Taylor (2007) article. I have established many variables which suggested Musical Theatre has many more variables perhaps requiring discipline in a different way then Dramatic acting on stage and screen. I will look for emerging themes regarding these differences through my inquiry.

Action Planning

Action planning has been a huge part of my inquiry process during Module 3. This detailed approach to planning has helped me:

• Reach Deadlines
• Complete tasks
• Clarify at which stage I am at 
• Clarify what needs to be done in order to reach the next stage
• Clarify my thoughts when working parallel on activities
• Create contingency plans
• Reward myself

Below is an image I used from Kent University to get started on my action plan

https://www.kent.ac.uk/careers/sk/skillsactionplanning.htm

  

Below is a sample of the first action plan I created within my journal

Michael Chekov's (inside out) approach to creating and developing characters

Throughout this article, the author examines how Michael Chekov, influenced by Rudolph Steiners's exploration of a pscyhophysical approach to acting. It is discussed how the imagination of actors can be utilised in creating and developing characters through the direct effect imagining has to the physiology of the body. Chekov explored the relationship between actors sense of self and the creation and development of character using aspects of Buddhist insights and Chekov's approach to the psychophysical creatino of character. As well as Buddhist insights the author also uses research from nueroscience to support Chekovs theories.

T Barbers 1984 conducted an experiment to explore how imagining effects the blood supply in the body.
'If...Thought, images and feelings can produce variations in blood supply, it is likely that the blood flow to other parts of the body is continually affected by what people are thinking, imagining and excperiencing, by being deeply absobred in imagining a physiological change, some individuals can evoke the same thoughts and feelings that are present when an actual physiological change occurs, hense stimulating the cells to produce the desired physiological change (Ardena et al 200; 377)
This supports Chekovs theory of acting from within in order to createv physiological changes of the character.
It is highlighted throughout the literature that Chekovs training, performances and theories are largely based around imagining and this scientific connectino between body and mind,

'It is a known fact that the human body and pscholgyo influence eachother and are in constant interplay,, the actor must strive for the asttainment ofn complete harmony between the two'
Chekov 2002:1

Chekov's recorded set of masterclasses are also briefly discussed.
'All our physical exercises will be considered and done as psychophysical exercises... Eveything like the development of our imagination or using of the pscyological aspects, all such means make physical exercises to pschyphysical
Chekov 196 tape 1

Chekov believes that in order for the actor to free the mind of habitual emotions and actions, the actor must be fully aware of their bodies and capabilities and use imagination to visualise the charaxcter in order to remove oneself.

The author proceeds to discuss the potential results of this awareness from his personal experiences and the results of Chekov's experiements within his teaching practices.From research gathered the author states 'By developing this awareness and understanding and understanding of ones own physicaslity, actors can begin to explore the way in which physicality can be developed and altered with the help of imaginatino.

This analogy supports Chekovs imaginary body ecxercises dicusdsded within his audio visual tapes.
The excercises are basic. Actors are required to imagine alterign a specific body pasrt and utilise the embodied image and sensationds felt to create a new physicality for the actor. For example 'Longer Arms' Chekov states by imagining actually possessing longer arms the actors physiology will change making the arms asppear longern due to altered physicalitly. Thje acot ris then required addn other elemtents sucvh as speech andf movement whilst remembering the feeling of obtainibng longer arms. This relates to T Barbers 1984 experiement in which he proved imagination has the power to change physiology.

Chekov also used images to help visualise a character in his imagination. In one particular instance Chekov sketched a character in his imagination. The sketched image bares strking resembelance to how Chekov looked whilst playing the character on stage.

As a performer I use this approach regularly when creating character, however lacked the knowledge of theory and practitioner behind this approach.

     

Ken Rea - Nurturing the outstanding Actor

                                                              Nurturing the outstanding Actor

In this article Ken Rea explores factors that may have implications on an actors success using his own empirical research and vast experience as senior acting tutor at Guildford School of Acting.

Gender

Studies show that there are fewer female roles on stage and screen in terms of acting with a higher proportion of women in the business.
52% Women
48% Men
This means competition is greater for women than for men leaving a greater majority of female actors unemployed.
In comparison to the Musical Theatre industry the ratio of women to men in the business is also greater, however shows with large ensembles and Female heavy casts provide more opportunities. An example of these shows would be, Legally Blonde, Made in Dagenham,Little women.

Age/Networking

Acting careers in general tend to be longer than Musical Theatre, dance and song careers. Rea also mentions how casting directors for stage and screen are looking for young, good-looking Actors.
He states
'agents visiting drama school showcases are keen to snap up the most immediately employable'. (Rea, 2014) Through his research he discovered Actors who gain a high profile job before the age of 25 are more likely to get continuous work as one job provides a spring board for a long lasting career, simply because of its potential to lead to other work. This relates to networking which is relevant for all aspects of the arts industry. As a Musical Theatre performer with a community of practice largely involved in Musical Theatre, it will be essential for me to expand my networks into the acting medium by attending classes, events, emailing directors, joining actor social media pages etc.

Class

Up to the 1960's actors tended to come from upper class backgrounds. Changes in funding during 1960's helped 'usher a new breed of less affluent actors' (Rea 2014) Examples would be Peter O'Toole and Richard Harris. These actor brought new energy and raw talent to the stage and were casted regularly on stage and screen. In 2012 funding was again reduced dramatically whilst fees have inflated meaning less affluent hopefuls have fewer options in terms of training and therefore miss out on building contacts and networking.
Upper class Actors are also able to more easily afford periods of no work.


Belonging to an acting dynasty

Ericson (2007) , in his theoretical framework suggests there is a link between genetics and talent.
'It is likely that in many cases parents transmit to their children a substantial amount of knowledge and motivation in skilled activities in a domain. He also emphasises how these relationships create more contacts and therefore lead to more opportunities.

Skype with Victoria Vickers

On Friday, I had a very insightful conversation with Module 3 student Victoria Vickers. It was great to discuss Module 3 and compare the stages we are at in terms of our inquires and the development of our research based around acting. I found it re-assuring to hear that other students are facing similar issues regarding altering inquiry questions and sourcing literature.

After discussing general ideas and findings we focused our attention on literature. We briefly explained to one another were we are at with our literature reviews and voiced our concerns. The main obstacle was 'time'. We came to the conclusion that sourcing relevant lit has taken more time than anticipated. The contrast in terms of the amount of literature needed and the depth of the review is a considerable leap compared with the literature aspect of Module 2. On reflection we considered how a bigger emphasis on Literature in Module 2 could potentially help us be more prepared for Module 3. As time was our main concern we spoke about strategies we could adopt to save time. Both me and Victoria had wrote separate reviews on all our sources gathered so far with the intention of combining them for the final review. In order to speed up the process I have decided to bullet point key aspects relating to my inquiry from new sources I gather. We also conversed about critique based literature and how it can be sourced through researching the acting craft. By gaining knowledge of each others inquiries we were able to recommend sources beneficial to each others inquiries of which we had came across on summon. We agreed to email these suggestions to one another.

Interestingly both our research questions have slightly changed since module 2 due to emerging ideas through conversations with industry professionals and literature. We reflected on how this could potentially cause problems in terms of our ethical consent forms. this is a subject I plan to discuss with my tutor to ensure the validity of my inquiry.

We spoke briefly about the professional artifact and exchanged our potential ideas however  neither of us are at the stage of developing this further.

Victoria informed me of her visit to campus to watch the Oral Presentations. She described the atmosphere as calm and explained to me the short presentation of which the previous Module 3 students gave. I found this aspect of our skype very re-assuring as I was not sure what to expect in terms of the Oral Presentation. Victoria spoke of how all students were extremely passionate about their inquiry's.

Tutorial with Paula 13/03/2017

Yesterday I had an enlightening tutorial with Paula focusing specifically on the literature aspects of my inquiry. This is an aspect of Module 3 of which I have found challenging and time consuming particularly when sourcing academic writings.

Paula and I established that the literature I had sourced to date is 'informative'; for example, my first  review is on a piece of literature called 'Ambidextrous Acting'. It is an article reviewing interviews of professional performers balancing a career between Musical Theatre and acting. We discussed how although this type of literature is relevant to my inquiry and valuable in terms of perception and advice; I will be required to explore 'critique' based literature in order to theorize the craft of Acting in both mediums'.  I will focus on similarities and difference in character development.

I am finding that my research questions and topics are still evolving and becoming more specific through conversations with professionals, interviews with my participants and information I have discovered so for in my literature.
Listening, for example is a transdisiplinary skill vital for the craft performing in all mediums. In plays we listen to others on stage, however in Musical Theatre productions and on set, there are other variables to consider. I plan to use summon to investigate this further.
'Writing' is also an essential aspect of performance and perhaps where differences occur in regards to creating and developing character. Characters on TV are 'less defined'. An example of this would be, a character in a long running soap may not know the ins and outs of their characters back story leaving a window for later story lines to develop. This differs from characters on stage as there is a beginning and an end to the play/musical therefore actors/actresses often explore the character they are playing and the other characters involved in a lot more depth using techniques from practitioners such as 'Uta Hagen' and 'Stanislavski'.
I look forward to delving into these topics in more detail over the coming week.

Any comments would be appreciated.
 Laura Gregory



References:

"Ambidextrous Acting: Moving Between Musicals And Plays". Backstage.com. N.p., 2017. Web. 14 Mar. 2017.

 Hagen, Uta and Haskel Frankel. Respect For Acting. 1st ed. New York: Macmillan, 1973. Print.

Module 3 Update

After deferring Module 3 due to a very busy schedule; I am beginning my studies and feeling very overwhelmed at the work load ahead as always!. This time however I am excited to get stuck in and give my all to module 3. I decided it would be beneficial to refresh my mind after a long period of time and read my module 2 proposal and feedback along with module 3 and reader 7. I made notes and re-read aspects to gain clarity on what stage I was currently at with my inquiry and the steps I needed to take in order to complete all elements of my inquiry before the submission date. Time management will be crucial in the process. As stated in Module 3 handbook, 'many of the elements of the professional inquiry require activities to be carried out parallel'.  Devising a detailed action plan helped me to envision all aspects of my inquiry process and organise the steps I need to take to ensure I achieve my goals in the time frame given.

The following image from Kent Universities website motivated me to begin creating an achievable plan. 

                                         https://www.kent.ac.uk/careers/sk/skillsactionplanning.htm#steps

I used the sample framework provided in this link https://www.kent.ac.uk/careers/sk/skillsactionplanning.htm#steps

.. I particularly found rewarding myself and reviewing progress beneficial. Rewards are providing motivation for me to complete tasks stated on my plan and reviewing my progress regular helps me to analyse what obstacles I am facing in terms of  my plan and how i can overcome these. An example of this would be how I occasionally feel very enthusiastic and energetic about the day ahead and plan to many activities or underestimate the time scale of a particular task. Breaking my plan down into small tasks makes goals appear achievable and therefore helps me reduce procrastination.

Creating a plan allowed me to envision the stage I was currently it with my inquiry and made writing my BAPP update for Paula a much simpler task.

BAPP UPDATE:

                                          

Module 3 Update

 Interviews

Having re-read my professional inquiry proposal submitted for Module 2 and the feedback provided; I intend to pursue the following research questions.

• Do actors approach developing character differently depending on whether the role is part of a Musical or Dramatic play on stage or screen?
• Can a background in Musical Theatre inform working as an actor/actress in dramas on stage and screen?

I originally planned on researching the following also:

·         What are the similarities and differences in terms of rehearsal process, stage craft and performance between Musical theatre and dramatic acting on stage and screen?

 Following a discussion with a peer, I concluded that this question was ambiguous and could potentially be explored within the previous two research questions presented, however I will continue to discuss this question within my SIG.

·         What are people’s perceptions of Musical Theatre?

The feedback I received for this question was as follows ‘Yes they are, If so how?

I struggled to make sense of the feedback and would benefit greatly from a further discussion regarding this in a tutorial. I will also explore the question further with my peers. It is a question I am extremely intrigued to investigate, however, peoples opinions cannot be changed therefore has left me debating the relevance of this question to my inquiry.

Ethics

I am aware that the ethics board has approved the research I will be conducting for my practitioner inquiry. I am aware of the consent forms I need to provide to participants.

I also prepared an email thanking all interviewees for their participation. I sent a draft of my email to Paula and established important information I had not included in regards to ethical issues.

  I then re-drafted my email including information about data protection, explanation of methods used to record data, anonymity and time scales/interview lengths.

Following the feedback I re-read the ethics section of my professional inquiry plan and also revised reader 5/6 to ensure all potential ethical issues had been covered.

Carrying out my research

Two of my interviews will be carried out week commencing 27^th Feb 2017; therefore it was essential for me to prioritize this particular aspect of my inquiry whilst working parallel to source literature for me review. As mentioned, I have carefully considered ethics in relation to my interviews whilst also ensuring I am fully prepared and have a range of relevant questions to present to participants. I have critically analysed these questions to guarantee they are unbiased and non leading. I would appreciate feedback on my questions from a peer or tutor if possible.

Currently I have 7 valuable sources of literature, including those mentioned in Module 2 of which I have already began critically reading and analysing. Creating a colour coded note system has assisted me in categorizing crucial information.

‘Community of practice’ and ‘Networking’ are reoccurring themes in my investigation through discussions. I will be studying Wenger’s theory in relation to this in aid of my inquiry. I will continue sourcing literature using the following questions from ‘reader 7’ to determine the significance of the text.

·         Who is the author/authors/Publisher of the text?

·         When was the text written?

·         Where was the text written/produced?

·         Who is the intended audience for the text?

·         What are the authors/publishers intentions in relation to the reader?

·         What is the writer’s own position in relation to the subject being written about?

·         What assumptions are the authors/publishers making and how does this invite the reader to share them.

·         What is the style of the writing of the text, and how does this affect the reading of this text?

Artefact

In terms of the artefact my initial thoughts are to create an informative guide on ‘The transition from Musical theatre to specialising in dramatic acting on stage and screen. I will include skills which could be transferable and advise on transitioning both on and off stage.

SIG

I plan on focusing my attention this week on interacting with others on Module 3. As I deferred, I am unfamiliar with research topics other module 3 students have chosen. I will be joining SIG’s posting blogs and joining social networking groups in order to establish connections and discover how my self and my peers can assist in developing each others research. 

Critical Reflection On Professional Practitioner Inquiry

Critical Reflection on professional Practitioner Inquiry

Introduction

Module 2 has given me the opportunity for professional growth by enabling me to further investigate my practice through the process of inquiry. Tasks 4, 5 and 6 where challenging yet extremely helpful in preparing me for the planning of this process.

Lines of Inquiry

Developing inquiry questions was the toughest obstacle I faced throughout the module; this was due to the variation in my career at present and the uncertainty of where it was heading. Too overcome this issue, I took advantage of underpinning knowledge gained in module one and discussed potential ideas and questions via my Google community, blog comments, SIG and Skype sessions. (Appendix 1). Establishing my skills and competences also aided me in choosing my inquiry topic. (appendix 2 ) Upon deciding on a topic I focused on literature which expanded my knowledge on my current practice and areas of study (appendix 3)

Ethics

Reader 5 brought too my attention how little I actively consider ethics within my practice. Upon reading professional documents

Such as job contracts, I realised I held this information tacitly (appendix). Researching ethics encouraged me too consider how our professional ethics occasionally conflict with personal ethics.

‘Ethics isn’t always a case of black and white; there are grey areas’ (Reader 5, page 7 Middlesex University) (appendix 4)  I used my new found knowledge from the reader to complete my ethics release form.

 I found it difficult too discuss ethics in relation too my inquiry topic as the majority of other students undergoing the module are focusing on teaching and had lots in common in terms of both their professional practice and inquiry.

Methods

Bell (2002) states ‘Understanding the major advantages and disadvantages of each approach is likely to help you to select the most appropriate method’

I used this quote too assist me in deciding on methods of which I deemed most appropriate for my inquiry. (appendix 5)  as certain interview would be the best method as the data I am relying upon is ‘qualitative’ I conducted a pilot interview too confirm this whilst taking into considerations ethical requirements, style of interview and interview context (appendix). I struggled too decide on a second data collection tool. I discussed this issue with a colleague and decided the use of my journal would be crucial. Observations would also provide me with qualitative data however I will review this tool further and make an informed decision of whether this would be possible in terms of scheduling and ethical considerations (appendix).The pilot experience provided me with the skills and knowledge to execute my personal inquiry with confidence in Module 3.

Conclusion

Module 2 has been difficult yet has provided me with a wealth of knowledge and curiosity in relation to me professional practice. Applying time management skills studied in module 1 enabled me too keep on track with my inquiry plan.  I do believe I would have benefitted further through more communication within my SIG in the initial stages; however due to my professional schedule, found this difficult I completed tasks in my journal rather than on my blog and relied on cast members and other colleagues too support the development of my inquiry.  I am positive I have a strong basis for my inquiry and look forward to progressing further.