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.
Sunday 19 March 2017
Tuesday 14 March 2017
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:
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:
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