Skype Session 30/11/2017

Our final Skype session as a group of Module Twos came to an end today. I gathered from the Skype discussion the importance of using the words 'unbiased' and 'truth' carefully within our essays. An alternative view is that we can attempt to be reflective during our research and whilst carrying out our inquiries. To become too neutral is not realistic - evidently, as human beings, we have individual perspectives. Naturally, I don't always see the things I don't value or which don't relate to my professional practice. That is ok. My job as an academic is to attempt to be reflective about the opinions, developments and discoveries which crop up within my inquiry process.

Campus Session 07/11/17 - Inquiry Plan Analysis (6c)

Yesterday I attended the campus session at Middlesex Uni. It was a very small group which it made it an accessible session in terms of understanding certain aspects of the up and coming inquiry.
The main thing I took away from this campus session was right now for module 2 - the focus is on planning and analysis.
Any interviews or tools of inquiry we plan to proceed with - we need to have a clear idea on what we will do with the results. For fear of being biased with the results - it is generally recommended to base your analysis on a professional's work with a similar topic. That way you can outline your series of analysis and almost use a formula to make clear and unbiased observations on the results accumulated from the interviews.
It is acceptable to obtain a narrative form of data (where your analysis includes parallels between you and other people's analysis). However, for my interview process I think it will be wise and effective for me to analyse my results using literature and comparisons.
After the campus session, everything was entirely fresh in my mind and I went directly to the campus library in order to tie up a few strings which I had left loose prior to the session. I had a rough plan started - as well as a start on my critical reflection for module 2 - however I now had the tools to complete a first draft in order to gain feedback over the next few weeks. I know my first draft is not perfect - but I know the areas in which I need to concentrate on particularly.
It is an exciting notion to think I will be getting something from my study. The inquiry is so interrelated with my practice that it would be impossible for me to ignore the results and observations I make from it.
I have written in my inquiry plan what I want to get out of the process...

"Professionally, I plan to utilise the outcomes to potentially help the development of my acting career, by using any results to relate to my practice. I hope to use the discoveries within the inquiry to apply to my audition technique and emphasis I place on personal appearance in future experiences in order to achieve greater success in the acting industry. I plan to use the information from the possible outcomes to study my professional practice from an outsider's point of view. I also plan to question whether the outcomes fall in line with what I deem as morally acceptable."

6A - Planning Interviews

I have interviewed various actor friends of mine during the development of my module 2 studies. This was as much to further the clarification of my inquiry topic as anything. I found talking face to face really useful and airing my thoughts as well as hearing others' views on certain things opened a new element to my studies. These casual interviews were held in coffee shops and had a very personable atmosphere.
Thinking forward for my actual inquiry, I think perhaps I should opt for a different interview approach. This was not because the coffee shop interviews did not produce interesting ideas - but more so to create a style of interview that will bode well with my inquiry.
I plan to construct self-tape style interviews.

What is my relationship with the participant? I will use fellow actors, casting directors I have worked with as well as hopefully some other industry professionals.
How will I refer to them? I am toying with numbering the self-tapes in an audition style. i.e. Participant 1.
Type of interview I will hold? I plan to send out the questions via email the day before the interview, that way participants have a chance to read and prepare what they wish to share. The following day, they will send the self-tape to me via WeTransfer, or another appropriate file sharing forum.

A self-tape style interview may be beneficial and practical. Viewing the interview in the same seat as a casting director would view a self tape may give me insight into how focused an individual is on the appearance of the participant.
The questions will be the same for each participant, sent to them prior to the interview. The questions will be worded carefully so as not to sway the participant.
Organising a self tape style interview may prove more practical for people’s time schedules.
I should write up contracts for potential interviewees as well as an ETHIC RELEASE FORM

In this I will have to include a clause stating if the participant does not want their video being used within in the study, then can send an mp4 instead.

Likewise, I will state clearly that their image in the video will only be used for my inquiry only, it will not go public and it will be deleted off any devices once the study is complete.

Skype 31/10/2017 - Finding out what YOU want from it

The Skype last Tuesday with BAPP students from various modules and Adesola was a stepping stone on my journey towards constructing my submissions for module 2.
We discussed the importance of finding something out when it comes to the inquiry. It was stressed that the process was important, rather than the question. This opened my eyes up to what exactly it is I want to achieve - my objectives.
Prior to the Skype session I had begun a rough Inquiry Plan. Following the session, I was able to fill in more of the gaps - i.e. stronger objectives of what I want to find out and how I am going to go about finding them out.

Starting to plan my Inquiry - one step at a time!

I guess in 12 weeks I want to find out how other people have experienced the focus or lack of focus on personal appearance within the acting industry. Including how their headshots have affected the course of their career i.e. getting seen for certain auditions or new headshots affecting their path. The reason why I want to find this out (what I can gain from the inquiry):

• An insight into how much casting directors take appearance into consideration
• Potential functional use of my inquiry results which I can apply to my professional practice in order to promote myself in an appropriate manner which may lead to more auditions / success
• Tips from certain studies (i.e. pilot observations) which I can apply to my own promotion

Filming 'DISSOLUTION' - Ethics within my Practice

Shots from the film shoot of 'DISSOLUTION'

This weekend I filmed the short film 'Dissolution', directed by Eleanor Hilton, and produced by Vast Productions. Prior to the film shoot, I had signed an ACTOR/CONTRIBUTOR'S AGREEMENT STANDARD TERMS OF ENGAGEMENT. These Terms of Engagement outlined clearly and concisely what the job entailed and what rights they had over my image. I made sure to read through this engagement thoroughly leading up to the shoot so I was aware of the intricacies which the film entailed.

The nature of one scene was sexual. This did not include full nudity, a bra and knickers were to be worn, but it was still an aspect of the shoot which was outlined clearly to me when I was applying for the job. This coincides with the guidelines stated in Clause (CC13) NUDITY AND STIMULATED SEX ACTS (p.75, Equity PACT). Preceding the audition, which was done via self tape, the criteria stated clearly that there was a scene of a sexual nature. Once I got the job, I read the script and in that it clearly stated the extent of said scene.
Had I not been comfortable with that once I had read the script - it would have been well within my rights refuse to do the project, or alternatively, request a body double.

The experience during the shoot was an entirely pleasurable one. It was evident that the entire film crew were strongly aware of ethical values on a film set. They gave me breaks aplenty, frequently inquired if I needed anything (refreshments / water / tea), supplied substantial food during the entirety of the shoot and also gave me the privacy and space which I needed to get ready. Dietary requirements and preferences were also flagged up by the team, as well as the makeup artists asking if I had any allergies to any products before beginning my makeup. I felt safe, secure and also that I was in a professional environment; all factors which enable an actor to concentrate on the tasks at hand and deliver a desirable performance.

Before the scene of a sexual nature, the director ran through the sequence with me and asked again 'Are you ok with all of that?'. The assistant director said anyone who wasn't imminently needed in the room for that scene was required to leave. This meant that the only people in the room were necessary, no onlookers, as it were. They made sure the temperature was adequate for me, and had a blanket on hand between takes should I get cold. All of these factors contributed to me feeling totally at ease and therefore I could delve into the acting side of it. Had I felt uncomfortable in any way whatsoever - I know I wouldn't have been able to give a realistic performance.

Ethics within my Professional Community: Codes of Practice (5b & 5c)

Devlopment of my Inquiry
Before I delve into this blog - I would like to write a concise intro regarding the development of my Inquiry.

I now have my Inquiry question (or draft 1, I am subject to change the wording and direction slightly should I run into any major problems). After brainstorming my ideas with an actor friend of mine - I concluded that the question I should begin to zone in on is:
'How does your personal appearance affect your chances within the acting industry?'
Areas within this topic which I can delve into may include:

• Cast type
• Playing age and actual age
• Headshots Vs Self Tapes
• Professional appearance and personal appearance
• Nudity Clauses

Ethics
Developing my study on from this - I began to research the codes of practice which steer the ethical framework within the screen acting industry. The professional sources are linked below. The Actor's Union - Equity - as well as the American combination of the Screen Actors Guild and the American Federation of Television and Radio Artists - gave substantial insight in regards to the Nudity Clause. During my experience of screen auditions - I have had to approve nudity clauses. The U.K. and the U.S.A.'s standards are similar, however they differ slightly in regards to the audition process. The U.K. standards outline the following:

Clause (CC13) NUDITY AND STIMULATED ACTS
4. At Auditions
a) No artist shall be required to disrobe entirely or partly until after being interviewed. (Equity PACT TV, p.75)

Whereas on the otherhand - the SAGAFTRA standards (American standards) declare:

43 Nudity
A. '... The performer shall also have prior notification of any interview or audition requiring nudity and shall have the absolute right to have a person of the performer's choice present at that audition.' (SAGAFTRA 2005 Theatrical Agreement, p.105-106)

Whilst the actor's rights to refuse to perform nude remain the same in the U.K. and across the water; the American's Theatrical Agreement stated above allows nudity in the initial audition process and that is where the two nations differ. If I was faced with nudity in the first round of an acting audition I have to say I would heavily question it.

The professional and personal divides of the acting industry become tangled together at times. After studying the theoretical approaches to ethics (Reader 5, p. 9) it made me question our actions in the workplace. This ties into my findings of Joan Crawford's character whilst reading her autobiography - 'Not the Girl Nextdoor' (Charlotte Chandler). It became apparent that Joan, as an actress and a person, was extremely moral. I would view her as a Virtue Ethicist - moral behaviour & character as important as action. One section that rings true for this observation is when Joan recalls the inappropriate 'casual' groping that went on at her workplace i.e. film sets. Men found it hard to distinguish between the on-screen 'sex symbol', Crawford's profession, and the person she was and the rights she deserved, Crawford's personal self.

Do I think about the ins and outs of what a nudity scene could entail when I film a self-tape attached to a nudity clause? I am not against nudity on-screen. It generally serves a purpose and goes in line with the era or the storyline of the plot. But, personally, what would I deem as suitable for my portrayal on screen?

List of resources:
https://www.filmindependent.org/blog/everything-you-ever-wanted-to-know-about-nudity-clauses-but-were-too-shy-to-ask/
http://www.sagaftra.org/files/sag/2005theatricalagreement.pdf
http://www.fia-actors.com/uploads/Equity%20PACTTV.pdf
https://vle.bruford.ac.uk/mod/resource/view.php?id=34601

Ethics within my Professional Practice

When considering the ethics which revolve around my professional practice - I composed a rough list that consisted of:

• Honesty with actors when you are providing them with a filming service
• The cost of Spotlight UK self tape service compared to Spotlight Ireland
• The level of self promotion on social media - the personal and professional distinction becomes blurred
• Nudity clauses in the audition process

Furthermore, whilst discussing 'ethical considerations' at the campus session last week - it dawned on me that we make ethical considerations daily. They don't have to be soemthing of a mystery. Here are a few ethical considerations I noted surrounding the area of my line of inquiry (appearance, self-tape auditions, film industry) -

• What qualifies as professional maintenance rather than vanity?
• Is the use of social media a safe method to promote yourself professionally?
• Making assumptions about people
• Ageism within the film industry - are we judged on our playing age? 
• Is self taping a true reflection of oneself?
• Did I consider nudity clauses within an audition brief?

With ethical considerations we are guided to form a valid opinion based on the thought and facts we have done / gathered surrounding the consideration. Throughout the study of module 2 I hope to form opinions on these areas of ethical considerations, along with accumulating more.

My notes on ethics in my reflective journal

Advice to Module 1 and 2 on 'THE BIG QUESTION'

Module 2s are currently being thrust with the task of finding that 'question' for our inquiry... In order to find this - it is advised to discover a Big Question (or a few big questions...) relating to directly to our own practice and experiences in order to branch out from that.

Today, during the campus session, we got into groups to discuss ways in which to explain said Big Question phenomenon that is hard to grasp - it's understandable yet sometimes hard to articulate. The Big Question is relevant to both module 1 and 2, as it is as much about finding out who you are as a practitioner as anything.

We found a good way to visualise 'grasping' this Big Question - an image of an umbrella containing a big question and the droplets form the smaller subheadings which are more personal and relevant to us. At the start of the session, I had in fact jotted down 'For an inquiry question - is it ok to have a broad umbrella that subheadings stem from?'

Summarising this analogy of The Big Question resulted in something along the lines of :

Think of the biggest question in the smallest way and most relevant to you and specific to my practice.

Personally, as a module 2 student, I think the route to finding my inquiry question is asking what is the big question reoccurring throughout the study of my practice and my previous blogs. My job now is to refine this question into one more specific to me and my line of practice.

Campus Session 20/10/17

Today's campus session was a lightbulb moment for me. I haven't had a lot of these so far on the course - I think everything I read / explore leads to a certain point and I realised that point today.


Adesola furthered my understanding of the all important 'Inquiry'... She stressed that we must focus on what would be useful to me. In other words - a specific area. This alone urged me to decide on one specific area that all my areas of research and past blogs had been pointing towards.


I guess I had forgotten that I have to get something out of this inquiry. It has to be relevant to me and a process which I go through.


From this I have begun to brainstorm ideas of wording my inquiry. I know it is going to be about the Importance of Appearance in the Screen Acting Industry. That is a big step for me.

Amsterdam - A City of Cultural Enhancement

This is a definition of film according to Mr. Wim J.A. van Roosmaten

It was interesting to see the rise in popularity in film

'Digitization is changing everything' - filming equipment in our pockets - Apple Inc., 2008

Amsterdam is so full of major cultural hubs and research centres. During a 3 night stay there recently, I managed to fit in many a museum. Even walking around the streets, enriched with a sense of history, was enough of an experience.




One museum in particular related to my practice - the EYE Film Museum (a short FREE ferry trip from beside Amsterdam Central station). This museum displayed the history of film genres alongside the development of filming technology. Perhaps one bulletin of info which related to my practice most was the section on the 'Smartphone'. This states how 'Today everybody carries around a complete film industry in their pocket' - which is exactly how I use my personal iPhone for my professional self-taping.




The museum was simultaneously a refresher as to why I love the screen industry so much. I watched snippets of old classics alongside newer films, including various European films... It just confirmed for me that there is a universal language in film.




https://www.eyefilm.nl/en

Exploring Ideas (Interview With Actor within the Industry - task 4A & C)

https://www.dropbox.com/s/hseo4n2vp4r813r/Module%202%20Inquiry%20Ideas%20Interview%20CJH%20%28Task%204A%20%26%20C%29.mp3?dl=0

With this blog I have attached an interview I conducted yesterday (11/10/2017) with an actor within the industry, Christian James. He spoke about his ideas regarding some of the questions I have formed which I will potentially explore more for my inquiry.

Christian led the answers in interesting directions. For example, in regards to 'perfection' and 'image' he emphasised that we should strive to be ourselves within this industry. This got me thinking that maybe within the professional practice of acting it is majorly beneficial to get to know our 'casting type' and embrace that. Be the best we can be within our casting bracket - and that is as far as we can go with perfection. Trying to be something you are not only holds back your opportunities.

As well as this, rather than concentrating on the negative outcomes of the rise in self-taping, he referred to self-taping to be a solution for first-round long distance auditions. Perhaps auditions that we cannot make due to money / engagements would be made possible if given the option of a self-tape first round.

I had predicted a negative reaction to the world of self-tape from actors - however, from this I have learnt not to judge where a conversation will take you.

Have a listen!

(Questions as follow...)

Q 1: How has the method of self-taping affected your experience in the industry so far? Or affected your perception of the acting industry?

Q 2: How has the centrality of television / screen in people's lives changed the acting industry? Or the audition process?

Q 3: Do long distance auditions produce more or less opportunities? What is your experience with long distance auditions?

Q 4: Do you think self-tapes affect the spontaneity of the audition process?

Q 5: What is perfection? Do we strive for perfection in the audition room or in a self-tape, and is it achievable?

Q 6: Is talent a nature / nurture occurrence?

Q 7: Do you have any views on mind-set being a large contributor to success in the industry?

Q 8: Is image a large part of the industry and do you think there are pressures re. image and perfection within the industry?



Relating SIGs to my Practice (Task 4B)

https://www.instagram.com/p/BZ3E1dEDF0C/

I have noticed over the past few months that Lauren Harper
(http://laurenharper26.blogspot.hr) on my module course shares similar interests to me. This naturally got me thinking about the possibilities of SIGs (Special Interest Groups) perhaps already exist but need highlighting.
I have already, by chance, tagged her in an Instagram post regarding healthy breakfast options which she has previously posted about before.
I am a strong believer that healthy eating reflects and aids my professional practice. It requires discipline, planning and time (similar to acting prep) and it encourages a healthy being inside and out. I can gain enough energy to focus on my studies and exercise. Concentration is vital for the acting profession and healthy food gives me the stamina I need. I am sure teachers, writers, creatives, dancers etc can gain the same values from nutrition, any thoughts?

Image from my Instagram - eleanor_actor

Image from Lauren Harper's Instagram

Past images from my Instagram

Past images from my Instagram promoting my healthy lifestyle

Documenting the importance of food prep for my hectic lifestyle between jobs, auditions and studies

Broadening Questions Ethically (Group Discussion & Task 4A)

2 days ago, I partook in a group Skype discussion where Adesola brought up the concept of 'POINTS OF WONDER'
I got thinking how my initial inquiry questions brainstorm could lead to bigger, ethical questions.
Self-respect preparation and editing led to
"What is perfection?"
Other questions / topics that spiralled from this included:
"Talent is subjective: is talent a nature / nurture occurrence?"
"Can you teach / learn perfection?"
"Is mindset a large partaker in helping you to be successful in a harsh industry?"

Ethical Questions

Our questions can evolve into larger, worldly issues / questions. We can discover these by opening the box more and more.

O found an interesting link from a question I was asking to a piece of literature I am currently reading: It appears some actors (or indeed professionals in the industry) fear the ride of self tapes. I think this reflects the fear which Crawford remembers when she notes that many actors feared the big change from silent movies to sound in movies.

From this - another ethical issue relating to my professional practice kept to mind:
"Do we fear change or embrace it?"

Trying to piece together all of these overlapping questions proved difficult in my head. Instead, I resorted to penning the ethical issues I have come across so far in my studies and furthermore writing down the sub questions which relate directly to my industry.

Rough mindmap of sub questions stemming from main ethical issues

Relating to Crawford

Since starting to read 'Joan Crawford Not the Girl Next Door' I have noted down some quotes which have stirred something in me. As it happens, I find Crawford incredibly relatable.

"Through dancing, I became a dramatic actress. It's so important to have the opportunity to explore the world and yourself, to have the chance to test yourself. I tested myself, and I passed." (Crawford, p. 9)

I began dancing aged 3. I grew up taking extensive lessons and grades in ballroom, Latin American, ballet and pointe. My performance experience as a kid always consisted of choreography. That was just expected of kids in a stage production. I moved to London aged 18 fully believing I would continue to strive towards a career in pure dance. However, deep down I always knew I had a passion for acting. It just became clearer when the three disciplines (acting, singing & dancing) began to separate into three distinct industries. I always loved performing and perhaps I used my dramatic tendencies to perform onstage as a dancer. It has become evident now that acting is my strength, but thanks to the medium of dance.

"Don't turn down parts, especially at the beginning when each part you turn down could be the last one you're ever offered" (Crawford, p. 30)

This is Crawford's advice to young aspiring actress. I haven't yet turned down a part. I am for the motion of getting as much experience as I can.

"I always want to succeed on merit, not on the casting couch" (Crawford, p. 31)

This is Crawford's comment on a girl saying she got the position because the director personally liked her best. In this industry, people will often throw snide / underhanded remarks at you. When I originally got interest from an agent I remember somebody saying 'Oh but that's because she has that look'. I am not denying that this industry puts heavy emphasis on particular 'looks'; however I will equally say that if you don't bring the goods as an actor - you won't get very far. You have to have the ability and mindset to match a certain 'look' (whatever that may be...)

"She didn't like crowds. Crowds bothered Joan all her life. Crowds made it seem warmer than it was and they made her feel "small and lost"." (Chandler, p. 33)

When I initially moved to London, I remember feeling rather anonymous in a huge, crowded city. It got me down a lot. People came across cold and insensitive. In time I realised that everybody was just busy and preoccupied - not inherently cold. London is, on a bad day, a busy yet lonely place.

"A person who has a good opinion of herself conveys that to others, and they start to have a good opinion of you" (Crawford, p. 35)

This quote ties in with the question Adesola mentioned in her blog 'Is it possible to represent your Self ever?' and also the idea that the degree course encourages you to figure out who you are and where you fit in amongst the industry. A stronger sense of Self is a wonderful asset as an actor. My sense of self has become stronger yet I believe throughout the modules and in life it will grow even more.

"You have to go to everything you can go to, do everything that will get you seen, and you have to do it with a lot of energy" (Haines, p. 35)

This is William Haines' industry advice to a budding Crawford. I believe this reflects my proactive approach to life... Expressed in some of my previous blogs - I reiterate my lust for life and to 'go do!' when it comes to your career and broadening your mind.

" 'Hold something back, Joan. Control all that wild energy or you'll wear out your audience right away.' I listened and learned" (Crawford, p. 46)

The above is Edmund Goulding's advice to Crawford regarding screen acting. Screen acting is a learning curve which I am currently experiencing. In my early self tapes I gave too much (over expressive etc); then I gave too little (looked contrived and stiff) and now I am simmering down to a happy (but never perfect) medium.

If Crawford listened and learned - then it must be a foolproof method of discovery!

Jenkins McShane Casting Workshop

https://twitter.com/eleanor__byrne/status/913497830978879488


Yesterday evening I attended a casting workshop hosted by Lucy Jenkins, from Jenkins McShane Casting - known for casting theatre work such as "The Play That Goes Wrong" (Mischief Theatre) and "Warhorse"; and screen work such as "The Bill" and "Skins". Jenkins gave the group of actors a general background on her story and what she does and after getting to know each other briefly, we got stuck into some script work in an audition set up.


We were working on scenes from Harry Burton's "Casualties" - a play that debuted in The Park Theatre in 2013. I got a good stab at the scene. Jenkins took her time giving me direction and feedback. I took on this direction and was able to apply it to my performance as best I could the second time I did the scene. An interesting pointer she established was that for theatre auditions she doesn't expect the actor to be off-script - instead she prefers if you have read the entirety of the play for preparation, and have become familiar with the context and story. A script in the hand, in her opinion, is not the devil. Of course, screen auditions differ as there is normally only a small number of sides to learn so being off-script is expected. However, in order to lessen nerves about remembering long passages for a theatre audition it is preferable to be familiar but to have the aid of the script in hand. Jenkins said she knows instantly that the actor can learn a script - the training on our CVs say as much. At the end of the day, an audition is not a test to see can we recite lines.


To top it all off, Jenkins opened a discussion for a Q&A session. Questions answered led to these few pointers of advice for the audition process:

• Positivity and Preparation are key pre-audition (she said - make the panel aware that you want the job with your mannerisms)
• Gain experience in order to get yourself in the door (fringe, student films etc)
• Gage the size of the room vocally. Decide when intimacy is appropriate
• TRUTH is key and across the board what a panel is looking for. They will be able to tell if you have the technique behind that - so truth is at the forefront of necessities
• Dialogue between director and auditionee is never bad - ultimately it is an interview to see if you would work well creatively
• Showreels should show versatility and be of good quality

All of these pointers were really helpful hearing them 'straight from the horse's mouth', as it were.

Double-Loop Learning (Task 4A)

REVIEW READER 4

Task 4 requires us to review reader 4 in relevance to forming a web of questions that are relevant to my practice. The reader seemed to emphasise that we need to "draw on existing knowledge, [and] seek out new evidence" (Kahn and O'Rourke, 2004). Effectively, it talks about the inquiry as a process. I perceived this as opting to choose an inquiry topic completely relevant to my specific professional practice - but at the same time leave space to learn and develop different aspects surrounding the topic.

Questions Relevant To My Practice

'How has the method of self-tape auditions affected the acting industry?' is a question that is searingly relevant to my current position within my professional practice. Stemming from this question, I began to brainstorm some sub-questions...

'How has the centrality of television in people's lives changed the system of auditioning / the acting industry?'

'Does the globalisation of self-tape acting auditions produce more or less opportunities?'

Organisational Theories of Learning

We were also encouraged to apply the theories of learning to understand our own professional practice. 'Double-loop learning' (a theory introduced by Arghris and Schon) particularly caught my attention; relationships between individuals and organisations easily translates to my world of the relationship between me, the actor, and organisations, i.e. agents and casting directors.

Does the process of self-taping eliminate 'acting in the moment'? The finished product that the organisation (in this case, the casting director) sees is a 'reflective' piece of work.

'Do self-tapes muffle the spontaneity of the audition process?'

Single-loop learning would be the actor sending a self-tape directly the casting director.

Double-loop learning is the safer option of putting my self-tape under scrutiny of my agent. This may lead to an alteration if my agent isn't happy with it.

http://infed.org/mobi/chris-argyris-theories-of-action-double-loop-learning-and-organizational-learning/

Getting Lit...(eratured)

Yesterday I was very excited to receive two books which I had ordered off Amazon.co.uk to get my relevant reading back on track. I have decided to look outside of the box. I have chosen books about topics that interest me and could potentially be useful research towards my inquiry subject. 'Women & Experimental Filmmaking' (edited by Jean Petrolle & Virginia Wright Wexman) alongside 'Joan Crawford - Not the Girl Next Door' (by Charlotte Chandler) popped through my letter box on Saturday and I am itching to sink my teeth into some new literature. I think having books about topics of personal interest encourage productive reading to morph into leisure reading.
Also on the way is 'Irish National Cinema' by Ruth Barton, a history of the film industry in Ireland.

Introduction into Module 2

The idea that I am entering the penultimate module of my degree is slightly daunting. It all became quite real when the handbook was sent out to us which outlined that in module 2 we are required to decide on an Inquiry topic. Before the introductory Skype yesterday, I felt a bit overwhelmed with the tasks ahead.
However, during and post introductory Skype - I found myself breathing easier. I came to the conclusion within the conversation that it is in fact liberating to not have a specific inquiry decided upon just yet. This module is a journey to explore the different ways in which my research may take me.
Today I read up a few journals of topics that interest me - generally basing around the film industry / self taping. The discovery of different ethical issues and specific sections which I can focus on will become apparent the more I read about a subject. Who knows? These subjects may propose different subjects I never thought would become my Inquiry.
Everything is relevant. Everything is eye-opening. Read. Read lots. But also think about what you read - ask questions, form your own opinions and share these with others.

British Urban Film Festival

British Urban Film Festival

Since finishing Module 1, I have been staying proactive in different ways - but always based around my professional practice. The summer has given me the opportunity to focus on the practical side of the professional practice of acting.
Last Wednesday (07-09-2017) I had the pleasure of being part of a live script reading of one of three plays for The Urban Film Festival at the BT Tower London.
It was hosted by the actor Wil Johnson. I played the character of Bryne in 'Sara White and the Seven Socialites' written by Sinitta Monero. It was the debut performance of this original piece and it felt special to be part of it. This performance was following merely one rehearsal. This short rehearsal period meant that we had to pull together with integrity and energy.
It was apparent that the playwrights had so much passion for their work. The female playwrights were an inspiration to me. During the Q&A afterwards they talked about the importance of simply writing. If you have an idea - write it. It was truly fascinating to hear their backgrounds and how they got into writing and, furthermore, how they discovered writing could be pursued as a career. They made it clear that you can be a writer AND actor simultaneously. As an actor who has tried a dab hand at writing before - this experience has encouraged me to pick up the pen again.
What better time for this realisation as module 2 of BAPP approaches? I feel refreshed and ready to put my ideas / thoughts / realisations to paper. As far as I am aware, this module will feature a lot more blogging (YAY!) and planning of our inquiry. These tasks incorporates skills I use in my creative writing. I am hoping that writing my own material alongside Module two's tasks; this will benefit the overall results and achievements I experience throughout.
http://www.britishurbanfilmfestival.co.uk/readings-masterclasses/

Using Time Off Wisely

Productivity can be relaxation. Because being self-employed technically means you can choose your own hours (to a certain extent) or how much / hard you work - time off can feel like you're cheating. REMEMBER - the average hard-working person has 2 days off a week, AND set holiday periods.

However, if I'm like most actors, during my 'time off' I still like to do something that is fun but lends to my career. It actually makes me feel more 'relaxed' to work on something small that will help me in the acting world. After all, trying to work enough to earn money during the year leaves not a lot of time to do creative tasks which need doing. Therefore - time off, with no 'muggle work' per say, can be the perfect opportunity to excel in your professional practice.

On a my recent time home in Dublin, I booked in a filming session in the Dublin office of Spotlight, at Bow Street. It was good value for a half hour session - including high quality equipment and top class direction. I really felt I gained something from the session. I learned that filming a short scene requires progression and thought. Next time I do a self tape I will make sure to think about the moments I can lay off the breaks - and those that I can throw away.

I chose a scene from 'Sing Street', as it is close to my casting and in my native accent.

Keeping Showreels Up to Date

You wouldn't even begin to consider drinking a pint of milk if it was out of date... So why would a casting director consider you for a role if your showreel is about 10 years behind where you are currently at as an actor? (TERRIBLE comparison... but you get the message...). We change constantly, both physically and ability wise, year by year. I have found it to be essential to keep my acting showreel up to date - using Windows MovieMaker to add or take away clips from my showreel. It is constantly a work in progress. You must add the best footage from recent filming you have done. Be selective. I have found myself tempted to stick sections of self-tapes in my showreel - but then I have realised quality is better than quantity. Ideally, a showreel doesn't have to be anything above 2 & 1/2 mins. I found myself flicking ahead quite a bit in my showreel - this is a sure indicator to me that less is in fact more when it comes to clips. I recently updated my showreel and uploaded the newest version onto my Spotlight as well as my agent's website. From now on, any professional footage I get I will add on to my showreel - I will continue editing and taking away / cropping clips to strive to keep it as professional and concise as I can.

Quest to Honing the Acting for Camera Technique

I have had a lot of training and experience in theatre acting... but screen acting is a whole different ball game. It is something I am willing to step up to the challenge for. In the past week, I have had 4 completely different self tape auditions to do for various jobs - some ranging from one or two lines to 3 page script dialogue. I have included self tapes, filmed by Wolfpack Productions (who offer a great value self-tape service to actors). http://www.productionwolfpack.com/
I can clearly see my mistakes on screen. I am always picky about how I move my head / twitch an eyebrow or whether or not I believe myself.
However, I know it is essential to scrutinise my on-screen performance if I want any chance at getting better.

The more often I do self-tapes, the more natural they become. By stripping back my performances - I became rigid. This was an important step towards a pulled-back performance, yet it took time for the stripping back to begin to look natural rather than stiff. At the end of the day, I am still being 'me' to a certain extent on camera... so by preventing myself from having any form of natural movement at all just takes away from the truth. I am by NO MEANS a perfect screen actor now - I STRESS I am still very much work in progress - with the ODD moment of a break-through. I just think it is important to assess your progress if it is something you want to pursue as an actor.

Pure Paradox Theatre Company

https://www.pureparadoxtheatre.co.uk/about

This week I have been immersed in the world of 'Splinter' (a new play written by Louise Fitzgerald). 'Splinter' is a play about the inner workings of the mind, yet it does not spell out the concept from the get-go. It is a play to get the audience's minds racing and to take them on a journey alongside the characters; whom seem more confused than the audience at times... I have had the privilege of performing this play alongside a vibrant young cast at The Etcetera Theatre, Camden, as part of the Camden Fringe.

I have linked the website for the Pure Paradox Theatre Company at the top of this blog. This theatre company was established by the writer and director of 'Splinter', Louise. It has honestly, hand-on-heart been such an amazing experience to get a chance to be part of an original theatre company. The hard work, commitment and working around varying schedules has formed a team of flexible and focused creatives and actors. We are all invested in this production. I believe when you strip away the flounces and flares of live theatre - that's when you rely very much on your skill as an actor. Anybody who has ever done Fringe (in any venue) can surely relate to the limited amount of 'get-in' and 'get-out' time. This means less time for warm up preparations, set-up and sound-tests (to name but a few ingredients involved in show prep). Lack of prep-time forces the actor to trust their ability and to discover efficient ways in which to warm up their bodies and voices.

Feedback has been an essential part of this experience. It has made me realise that different members of the audience will pick up / focus on certain parts of the show. Some people will love aspects of the play, others will think certain aspects don't add to the story; as well as certain audience members offering their own suggestions or each individual gaining a unique experience from the play. Personally I had relatives who came to watch who, on one hand, understood the concept pretty much from the get-go; whilst on the other hand, another who only found out the concept in the final scene when it is explained. These varying opinions and ideas form interesting conversation topics. No one person had the same experience. Some people wanted more of something, some people wanted less. The freshness of this live experience has made me realise live theatre is about more than getting a 'thumbs up' or 'thumbs down'; it's about believing in a project wholeheartedly, being open-minded and developing those characters within the project. Being closed-off as an actor will only prohibit your chances of developing and progressing.

Overall, feedback and comments have been incredible. I have really been swept up in this experience. We were lucky enough as a company to have all our sound and music originally composed for us - an aspect which adds greatly to the show and our experiences as actors. Tomorrow is our final show at the Etcetera Theatre. Being part of this theatre company has led me to believe that there is nothing better for an actor than acting. That sounds so basic and obvious - but actually practising your craft is the best experience for a striving actor. Each company member has come from different situations but we work around these - the focus is on the project at hand, no matter what else might be going on in our lives.
http://www.etceteratheatre.com/

New Updated Headshots

A shot which represents the young version of me - nice TV shot (Studio Light)

During a particularly quiet time - I got my new headshots done by the fabulous Ori Jones. My agents and the casting director who had originally advised me to get new ones really liked them - but not only that they believed the photos represented who I am and that it was 'great to see [my] natural features and radiance'.I have added more of the shots to give an idea of the range in variety.

A smiley shot is always useful to have (Outdoor / natural light)

A shot chosen by Ori Jones the photographer. Captures a neutral but bright expression & also a clear photo of my hair (Outdoor / natural light)

A more 'period-drama' style shot (Studio Light)

My main photo on Spotlight (Natural / Outdoor Light)

My main photo on Lorraine Brennan Management's page (Studio Light)

Staying Connected; Keeping Going

Since Module 1...

Since finishing up the Uni term in May and receiving a First for Module 1, I have fortunately been busy with rehearsals and auditions. However, I have had 'lull periods' where it seems not a lot is going on. During this time, as an actor, it is easy to get sucked into states of 'self-pity', which (as alluring as they may seem) are in no way beneficial. I have taken it upon myself to keep myself going during these rough times to, hopefully, mold myself into a more flexible and employable actor.

Stay Connected

Who says you can't work for yourself? You may have all the people in the world helping you along your career - but there is nothing more satisfying than small achievements which you gain yourself. My agents gave great advice recently to aim to be in short films / student films to gather together footage for a professional-looking showreel - solely missing the 'professional scene filming' cost. Student films are great because you are both doing each other a favour - the student gets a professional level actor for their university project; and the actor gets professional looking footage to use for their showreel. It's a WIN WIN as they say. I joined the website https://www.mandy.com/ and since then have had many a self-tape to do for short films (within a week or so of joining). I filmed an episode for a web series yesterday, and today I had a recall for a short film in Middlesex University. The director and writer were lovely and it felt great to make contacts with film students at the same University which I attend. We discussed how it is a benefit for both of us to have made this connection. Sometimes you don't have to look so far out of your immediate circles for professional connections.  If nothing else,  all of this learning new sides, filming and auditioning is experience that keeps me active as an actor and practicing my craft.

Training out of Training

You can only get better.   This is something I've learned since graduating from drama school. I have tried to do something every week that scares me - or throws me out of my comfort zone. If I fantasize about being in certain productions / plays; then I have to make sure I am employable for these jobs. Over the last few weeks, as well as getting practical experience in front of the screen, I have taken a technical singing lesson and I also did a Shakespeare workshop with a brilliant Shakespeare company called 'Merely Theatre'. This workshop was based around a scene from 'The Taming of the Shrew' which is one of my all time favourite Shakespeare comedies. I gained knowledge and ideas from that 2 hour workshop which I believe will help me with Shakespeare and non-Shakespeare script alike. One of the many interesting pointers made was that each line is either 'winning' or 'losing'. The workshop leaders got us to say either 'AH-HAH' or 'Oh Shit...' with different intonation before each line - depending on how victorious or down-trodden the character was at that particular moment in time. This helped with the pace and intention of the scene and added dynamics. It also encouraged me to get more Shakespeare monologues in my repertoire. I am always a work in progress and by constantly giving my brain new material to learn - I am without a doubt bettering myself as an actor.  

Open Your Eyes

The biggest bit of advice people often offer me is - 'SEE THINGS!' This advice is referring of course to things that are ongoing in our theatres / on our screens / upstairs in pubs. I decided to make sure to allow myself time in a month to go and see lots of productions. Watching productions is more beneficial to me than another under-paid shift at reception - a trip to the theatre / cinema always leaves me feeling inspired and creatively invigorated. Whereas a shift at reception leaves me feeling tired, creatively uninspired and oftentimes questioning the public's common sense...

In the matter of a few weeks I saw Emma Rice's 'Romeo and Juliet' at The Globe; 'Eris at the Wedding' as part of RADA Fest; 'Our Ladies of Perpetual Succour' at The Duke of York's Theatre; 'The Merry Wives of Windsor' at Theatre N16; 'The Staffroom Play' at Queens Theatre, Hornchurch; as well as absorbing brilliant drama series such as 'The Handmaid's Tale' and 'Game of Thrones'. All of these wonderful productions, no matter how big or small scale, have all lent to broaden my creative well-being. 

To Sum It Up...

We do have it hard as actors. That's a fact. But it is up to us to force ourselves to continuously work at our craft and make ourselves more rounded. Of course there are some days when you wake up and you want nothing more than to wallow in your own self-pity and eat spoonful upon spoonful of peanut butter (and kid yourself it's healthy because it's 'organic'); but only ever allow yourself that downtime for a minimum at most. Athletes don't get where they are by sacking off their training and the same goes for actors. So instead of reaching for your equivalent of my peanut butter next time you feel creatively uninspired - reach for a new script to sink your teeth into!  

Critical Reflection

My Critical Reflection - Page 1, Draft 1

The past week I have been entirely caught up with exactly what I want to do - a never-ending stream of audition self-tapes. It has been quite an interesting test for me. I had to perform different script sides for various TV or film jobs. These sides required a range of accents - South-Dublin, Jersey City, general American and standard RP - all in the one week. There was also the smattering of some classic musical theatre singing thrown in last week. The process of learning lines in a short space of time and translating that into a meaningful performance has been a great learning curve for me. I
counted my blessings that had I completed and submitted my draft 1 early. Otherwise, I imagine I would have struggled because my professional practice has picked up recently. In my line of work - I believe busy is good.
I received incredibly helpful feedback from my tutor Adesola regarding draft 1 of my Critical Reflection. She outlined some basic essay writing corrections -
- Name on every page
- Page numbers
- Bibliography as an extension to the essay document - all part of the one submission.


On a more in-depth scale - she pointed out that the Critical Reflection is not a study of Web 2.0 - but rather an evaluation of my learning. This has encouraged me to view my draft 2 as a study of my discovery of identity during module 1 and focus more on that.


Writing this blog has really helped to clear my mind. I find that when I put what I need to do into writing - it makes it a lot easier to put my corrections into practice. I have now strategically outlined where I need to go with draft 2 so it is just a matter of penning my realisations and amendments down.

Correlation Between Sharing Blogs on Social Media & the Level of Views on my Blogs

Bar Chart displaying number of views on blogs. Those shared on both Facebook & Twitter received the most views.

 I had the idea to use a bar chart to visualise the information I have gathered and analysed regarding the number of views on my blogs in correlation with those of which I shared on social media. I wanted to visualise this idea to aid my critical reflection which I am currently working on.

Green for blogs shared both on Twitter & Facebook; Pale blue for those shared on Twitter and Dark blue for those shared on Facebook

I colour coded the blogs with those I shared on TWITTER, FACEBOOK or BOTH TWITTER & FACEBOOK. This helped me separate my information in order for me to analyse it in relation to the numbers of the views on the bar chart. It was brazenly clear that those shared on both Twitter and Facebook had the most views - i.e. 'Screen Reel', 'Task 1c: Visual Audio' and 'The Art of the In-Between'. I concluded from this that our communities of practice on Web 2.0 forums can enhance our cyber voice. They can also offer input by simply viewing the information shared. People would not have viewed my blog had they not initially been vaguely interested in the content.

This led to me regarding the importance of short and snappy captions / descriptions. Nowadays, in our fast-paced world, people lose interest very easily. Nobody has the time to read an essay on their newsfeed. 

Were the visuals included in my blogs shared on social media a contributing factor to the level of views? My professional practice of acting is a relatively visual industry in some ways - for example, the first thing a casting director will generally look at is my headshot. This proves to me the relevance of making a blog look visually enticing on social media.

Planning the data for my bar chart page 1

Planning the data for my bar chart page 2

Task 3a: Range & Value of Current Networks

The acting industry is a well-connected network where more often than not you hear the phrase 'It's not what you know; it's who you know'. To begin evaluating the importance of my current networks - I sketched out a rough plan of my Communities of Practice.

Rough mind map of my Communities of Practice

Range

What stood out to me most was the sheer amount of various branches radiating from my name. There were certain subheadings I deliberated on whether or not they were a relevant community of practice. However, I concluded that if I have made substantial contacts and connections with people via a particular organisation or aspect of my life; then that merits a subheading in my communities of practice. It ranged from my personal to professional life on quite a large scale - but what I found interesting was the interlinking of the professional and personal world. For example - in order to make some professional film work - I benefitted from a personal contact to produce the results that worked best for me at that time. 

Value

I contemplated that I valued my personal links as much as my professional links in regards to my professional practice. My peers whom I trained with and whom now are my very close friends are undoubtedly the writers / directors / co-actors or audition panels of the future. To grow and learn with such an expansive range of talent and diversity is invaluable in the networking world. I debated whether or not the subheading of socialising was 'valuable' enough to include in my communities of practice. I opted to keep it in - realising that, in the acting industry, 'socialising' is a key aspect of networking.

During my third year of training at Italia Conti, I made it my business to go and see all of the BA Course's acting productions. This was a different course to mine but I felt it was necessary to see the style of work they were producing, at the same level as us. I made links with people who I am glad to have met and I would encourage any other performing arts student to look outwards for inspiration in their final years.

How I Intend to Further Extend

I am positive that I will get more professional contracts over the years. I have experience from the recent panto I was in of making a whole new bunch of contacts. I can imagine as time goes on as a working actor, this list will grow until I begin to work with familiar faces.

I also want to extend my professional networks to roles of importance in the theatre. Myself and my co-worker are planning on putting a self-written production on and we have already started researching venues where this could be possible. The next step, in terms of networking, would be to find out the specific contact for each venue and start emailing them, outlining our ideas.

Capitalise on my Professional Networks

'Capitalise' sounds harsh, impersonal and it has a slight economic sound to it. It makes it sound as if each actor has a game plan in order to succeed, and it is as straightforward as doing anything we can to accomplish this. This may be the case for some people - but I prefer to look at this task in a more positive, humane way. The professional environment is healthiest when everyone is thriving in their own way. I can benefit from my friends', colleagues' and contacts' skills as they can benefit from mine. Of course I am always looking for creative opportunities, especially with new people I meet; however the difference is I am a naturally social and friendly person. It is difficult for me to be forced or fake. I think falseness in the professional world of networking is an ethical issue which needs to be addressed. There are too many people who 'use and abuse' for their personal gain. I like to imagine that I can maintain dignity whilst still building on my professional network pool. I can gain creative plus by working with people who I have met and I know their strengths in specific genres. I have already 'capitalised' on my professional network by receiving feedback on my filmed scene from my previous acting for camera teacher, my agent and a director I have worked with. These 3 separate entities come from different branches of my communities of practice map but they each came together​ to form an objective feedback system for me to work off.

Ethical Concerns For Networking in the Workplace

Befriending colleagues / employers on Facebook or allowing them to follow you on Instagram or Twitter opens up your personal life to them. I have to be mindful and censor what I share on these social media platforms. This is a conscious decision I have made to stay connected and share a bit of my life with them. It is not a sacrifice I am making. Anything that I share online of me I wouldn't mind my employers seeing. This bodes well for my professional life too.

I can conclude with comparing my professional networks to the rhizome theory. This method of learning where the learning overlaps and interconnects during our course of study helps to visualise the overlapping linking of different aspects of my communities of practice. I found common denominators whilst creating my communities of practice map - people who fitted in two or more headings as well as organisations that linked to various subheadings. 

Brussels: A Cultural Hub

This weekend I had the privilege of exploring the beautiful city that is Brussels. My sister currently resides here so she kindly showed me around the sights that entice many tourists to this location, year in year out. 

Parlamentarium

My first stop was The Parlamentarium in the European heart of Brussels city. What struck me the most upon arrival into this area was how much English was present. Since the EU set up their parliament there - it is clear that Brussels has adapted to the multi-denominational population whom reside there for work. I stuck to my guns and insisted on practicing my French on the incredibly patient Belgians I came into contact with. 

The Parlamentarium is a museum consisting of photographs and visual evidence to help visitors discover what makes the European Parliament so unique. As I browsed around the museum, some striking images really caught my attention.

These are Italian women in 1970 protesting for equal jobs and educational opportunities. Women before our time had begun the long battle for equality. It amazes me that this photograph resonates with the problems of today. All around the globe today there is a heavy emphasis on women's rights in our changing political and social climate. This has been brought to light with the recent anti-rape and violence against women campaigns. I ask myself the question: Does this mirror what is occuring in the greater powers of the world today? There is so much uncertainty in our current world that perhaps some ethical issues are being abandoned to one side. The determination and obsoleteness of the lady's expression on the right hand side of the photo resonated greatly with me. Her expression says everything. I view her as being strong and knowing exactly what she deserves as a human being. This singular photo revealed to me that human nature is stronger than we think and we all have a right to make a mark in history. 

http://www.elle.com/culture/career-politics/a41293/bertolucci-abuse-art/

This photo displays a still from the movie 'The Last Tango' directed by Bernardo Bertolucci. In the museum this movie was praised as being the cultural and creative success work between the great European nations - Italy and France - in the 1970s. It was a time for creative development and collaboration between artists from all over Europe. This saddened me to see this sadistic film glorified. It is an ethical issue to glorify somebody's work if they have achieved the results by unethical means. In a recent article I read (linked above), I discovered that in this film Bertolucci had intentionally staged a sexual assault. The beautiful young actress, Maria Schneider, had spoken out about the assault but she was outweighed by the 'creative success' of the classic film. As well as being a fundamental human rights crime - this act made me question how I am perceived as a woman in my professional practice. Did this male director undervalue a woman's ability to act so much that he decided to take her reaction into his own hands? If Schneider had been directed to give the desired reaction then I am certain she would have been more than capable of doing so. As emotional human beings we can channel a deeper set of emotions and deliver a realistic and evoking performance. This counts for both male and female actors. 

'Acting, at its heart, is the ability to manipulate your own emotions' 

- Scarlett Johansson

The Networked Professional Abroad

An actress friend of mine was also in Brussels the same weekend as me. She was touring with an Irish / Belgian theatre company with a show. This was enlightening for me to discover the international connections theatre has. It was lovely to catch up with my friend. In a casual, social way I discovered (upon reflection) that I was networking and making connections with other industry professionals. This brought to light that communities of practice can be met on social terms as much as anything else. 

An interesting snapshot I took of a modern day café in Brussels which still had the old lettering up. Vaudeville = style of theatre developed from the 1880s onwards. It made me think that Vaudeville was not a solely American cultural staple - but it also had a following and culture in European countries