Here is my artefact, a website I created for this final module to fully explain and summ up my inquiry...at least I tried my best to do so :)
Have a look:
http://theperformerplatform.weebly.com/
Wednesday, 23 May 2012
Thursday, 10 May 2012
My Literature Review
Find here the link to my Literature Review I decided to write as a Google Documents for its easy access for everyone. Please let me know if you cannot open it.
Has anyone decided to submit the digital copy with Goggle Docs? I don't have Word Document and I'm trying to find another effective way to do it....any other ideas?
https://docs.google.com/document/d/15jCd2_ayROkxVKY6d0iKLPLOZPoaVvmMkW0rIMf0GPg/edit
:)
Has anyone decided to submit the digital copy with Goggle Docs? I don't have Word Document and I'm trying to find another effective way to do it....any other ideas?
https://docs.google.com/document/d/15jCd2_ayROkxVKY6d0iKLPLOZPoaVvmMkW0rIMf0GPg/edit
:)
Monday, 23 April 2012
Skype/Email Interviews analysis
I decided to gather all my interviews together and sum up all my findings to have a bigger picture of my datas collected. Being now towards the end of the race I felt the need to blog more after a few weeks of immersion into drafting the Critical Review..I felt I needed to back up with evidence what I was writing down.
In the past few months I manage to interview 3 people out of the 5 I had decided:
1. Andrea Bassani, Italian musician/composer and casting director
2. David Page, established performer in the West End scene
3. Adam Sopp, also established actor currently working in several job as a voice over, straight actor and TV.
I didn't manage to arrange a meeting with another performer in the London Theatre scene and I'm still waiting for a response from a spokesman person from the Equity Union which I have to consider as a possible contingency in my plans.
While I'm hoping I still be able to get in touch these 2 people I can analyze what I collected so far, which I have to say has been a very good experience in terms of useful information for my inquiry.
Andrea Bassani
I was interested to interview Bassani to have a detached point of view from the UK theatrical scene to compare it with the Italian perception of Musicals in particular. This interested me personally being Italian and trying to work in the UK.
I have to say that I collected interesting differences about the teaching technique used in the two realities.
-Bassani stated the most how much the Italian trainings lack in "teaching the character" (2012) and how much focus is put only in pre-established techniques.
-There's no space given to different acting techniques for instance (he mentions Stanislavsky vs Brecht) and the focus is put more into enhancing the natural talent rather than teaching how to merge it with the rest of a performance.. singing while acting, dancing because there's a feeling behind it that makes you want to dance or wanting to burst into singing because speaking (acting) is not enough. (Bean, 2007)
-For him, the Italian Industry doesn't want the foreign talents into their scene, fearing that the Italian audience may get attached to something that's not existing in the Italian performers as much and then would be put in situation were what's demanded can't be fulfill.
(This, I thought, was something that needed further argumentation to make what stated something true, but being an interview I left it as an objective view and didn't take it as written in stone but left it opinionable.)
-The gap between the two cultures is enormous as the performer isn't seen as a professional yet but more as a vocation or passion, a "hobby" (2012).
-The credibility of Musical Theatre performer as something questionable.
-The artist isn't covered or supported by unions like in the UK (Equity, BECTU, etc..) so keeps the professionality of a performer in danger of not having longevity.
-In contrast with other forms of art such as Ballet and Opera; they have a strong culture in the country and therefore acquired credibility over the years.
-He abolishes TV programs that put a sort of competition idea to the audience rather than understanding and promoting real talents.
In the UK the artsist is taught to use the abilities such as singing, to express what the character wants to transmit and feels, rather the expressing their own vocal capabilities.
(This is somehow a tangent that I realized keeps coming back, something I already found out from my previous interviews/focus group I had with other Italian performers -BLOG 1- BLOG 2-)
One the question that links Bassani with the other 2 interviewers is what is necessary to have as skills for a performer to succeed and what should do to keep u mentally and physically. They all have their own opinions due to their position (performer vs casting director) but most of them seems to coincide to what is expected and what is asked!
-He believes a strong technique is needed along side with talent.
-Being aware of our own capabilities. Limits, strengths, weaknesses. But mainly a strong ability to move oneself and being able to move the others.
-In Acting and Singing the talent can prevail on the technique, whether on Dancing the techniques is essential.
-Importance of choosing the right trainings and the vary techniques and methodologies offered to be able to have a good preparation under our belt for any type of artistic experience.
To better explain this point I'm here going to talk about the other 2 interviews I had with the performers:
David Page & Adam Sopp
They both are established and working performers/actors in the West End scene as well as TV. They shared with me their opinions on 5 points/questions I wanted to cover with them:
________________
Adam:
-You need to be so resolute within you that you always wanted to be an actor. Determination doesn't even come close. Without that to beging with you have already failed.
-Time keeping and turning phones off
-Good looking or interesting looking (mediocrity is not an option to stand out) e.g. very fat or very good looking
-Very thick skin. Accepting when you are just not the right person for the part, sometimes your skills have nothing to do with getting a job or not.
David:
-Understand that you are a business, a business of yourself. Good business brain!
-Understanding who you are as a performer and person. Knowing your selling points, your weaknesses and strengths. Never show what you would like to be. Never works!!
-Good networking skills a must. Be happy for who does well. Look out for inspirational people and challenges.
Adam:
-He did everything that could possibly come up to gain more skills.
-Everything that can enrich your experiences to then use them back when acting, related or not related to the acting/performing profession.
~Looping
~Voice over
~ Bar tending/waiting
~Role play (e.g. medicine and police students's final exams )
~Nanny
~Bar Host (chatting with people using acting skills..talk for a living)
~Call centre work (the worse one for him but very flexible)
~Cataloging records for a record label company.
-Never had a contract jobs so can always live for acting/tv work.
David:
- Recommends to try few temps jobs, it helps understanding another way of functioning in the world. You can't act without life experience
- On the other hand he doesn't encourage taking too many temping jobs on a regular basis. He believes once you are highly skilled in our profession, you should find a way to make money with the skills acquired.
- It keeps you active in the industry and your passion alive.
- We should be learning and improving at our craft to make the jobs we want more regular.
________________________
Adam:
- If he has an auditions that involves dancing he would take a class before to feel more ready not having dancing as his strength.
- He doesn't usually takes acting classes as he believes that audition material give you enough to work on on your own, giving that you have acquired the shills necessary to work with what you have.
-A lot of actors are very wary on taking too many MT jobs as they give you then difficulties on to be taken seriously for a straight acting job.
David:
-Go out and be proactive. The more contacts and new people you meet or connect with the more you create opportunity.
-He never feels out of work because of he is always reaching out to connect with people to work on something.
____________________
Adam:
-For films, pick up a camera put together a showreel and send them to agents.
-Invite them to anything show you do via letters. They prefer they mail rather than the email. In one glance you can have a good idea of who you are and what You did in your CV. With emails is harder to catch your essence as a performer.
-Always in their rather but Don't hassle them. They do a hard job. They have power but they do the work as middle men between the performer and the casting director.
David:
-Word of mouth the best way. Looking at actors you admire and see who represent them is a good way to find good agencies.
-Always check the agencies' book and make sure there isn't someone "like" you that they already represent. In that case you have a slight chance to be interesting for them.
-It's possible to work without an agent with the use of casting sites where the casting directors contact you directly (Spotlight, Casting Call Pro)
-Agents are good for negotiating higher salary and notice pitfalls in contract.
-Contact casting directors directly. Keep them updated with what you do and take an interest in what they do and what they cast.
------------------------------------
So, with these interviews, I could see how many similar points my interviewers have and on some others their different opinions. The main one that was debatable during the sessions, was regarding temping jobs. I can see how the performers interviewed had a different view on the matter and a very different approach.
With the support of the literatures I found on this topic, I learnt how much being a performer has to deal somehow with temporary jobs. Whether you have a successful career or not, at some point you will encounter a "resting period", it's then up to you if you want (or have) to still have some kind of income and take whatever job comes along, or if you prefer be more selective and "protecting" your professional skills.
Another "fear" for actors I discovered reading articles about temp jobs, is finding the "confort zone" in a resting period. Once you find a job that you actually enjoy, that gives you a salary every month, respect from colleagues and taxes you don't have to deal with a the end of the year, can make you question why you weren't doing it before and forget about your passions.
I can see why some performers can approach temping jobs differently than others, you have to find your own why to then fall back into your profession without problems or anything that olds you back.
Wow, this was a very long post...hope someone can find it interesting rather than long and boring! :P
References:
In the past few months I manage to interview 3 people out of the 5 I had decided:
1. Andrea Bassani, Italian musician/composer and casting director
2. David Page, established performer in the West End scene
3. Adam Sopp, also established actor currently working in several job as a voice over, straight actor and TV.
I didn't manage to arrange a meeting with another performer in the London Theatre scene and I'm still waiting for a response from a spokesman person from the Equity Union which I have to consider as a possible contingency in my plans.
While I'm hoping I still be able to get in touch these 2 people I can analyze what I collected so far, which I have to say has been a very good experience in terms of useful information for my inquiry.
Andrea Bassani
I was interested to interview Bassani to have a detached point of view from the UK theatrical scene to compare it with the Italian perception of Musicals in particular. This interested me personally being Italian and trying to work in the UK.
I have to say that I collected interesting differences about the teaching technique used in the two realities.
-Bassani stated the most how much the Italian trainings lack in "teaching the character" (2012) and how much focus is put only in pre-established techniques.
-There's no space given to different acting techniques for instance (he mentions Stanislavsky vs Brecht) and the focus is put more into enhancing the natural talent rather than teaching how to merge it with the rest of a performance.. singing while acting, dancing because there's a feeling behind it that makes you want to dance or wanting to burst into singing because speaking (acting) is not enough. (Bean, 2007)
-For him, the Italian Industry doesn't want the foreign talents into their scene, fearing that the Italian audience may get attached to something that's not existing in the Italian performers as much and then would be put in situation were what's demanded can't be fulfill.
(This, I thought, was something that needed further argumentation to make what stated something true, but being an interview I left it as an objective view and didn't take it as written in stone but left it opinionable.)
-The gap between the two cultures is enormous as the performer isn't seen as a professional yet but more as a vocation or passion, a "hobby" (2012).
-The credibility of Musical Theatre performer as something questionable.
-The artist isn't covered or supported by unions like in the UK (Equity, BECTU, etc..) so keeps the professionality of a performer in danger of not having longevity.
-In contrast with other forms of art such as Ballet and Opera; they have a strong culture in the country and therefore acquired credibility over the years.
-He abolishes TV programs that put a sort of competition idea to the audience rather than understanding and promoting real talents.
In the UK the artsist is taught to use the abilities such as singing, to express what the character wants to transmit and feels, rather the expressing their own vocal capabilities.
(This is somehow a tangent that I realized keeps coming back, something I already found out from my previous interviews/focus group I had with other Italian performers -BLOG 1- BLOG 2-)
One the question that links Bassani with the other 2 interviewers is what is necessary to have as skills for a performer to succeed and what should do to keep u mentally and physically. They all have their own opinions due to their position (performer vs casting director) but most of them seems to coincide to what is expected and what is asked!
-He believes a strong technique is needed along side with talent.
-Being aware of our own capabilities. Limits, strengths, weaknesses. But mainly a strong ability to move oneself and being able to move the others.
-In Acting and Singing the talent can prevail on the technique, whether on Dancing the techniques is essential.
-Importance of choosing the right trainings and the vary techniques and methodologies offered to be able to have a good preparation under our belt for any type of artistic experience.
To better explain this point I'm here going to talk about the other 2 interviews I had with the performers:
David Page & Adam Sopp
They both are established and working performers/actors in the West End scene as well as TV. They shared with me their opinions on 5 points/questions I wanted to cover with them:
________________
1. As a professional performer, what do you think are the most important requirements for an emerging performer to work in the theatrical industry nowadays?
Adam:
-You need to be so resolute within you that you always wanted to be an actor. Determination doesn't even come close. Without that to beging with you have already failed.
-Time keeping and turning phones off
-Good looking or interesting looking (mediocrity is not an option to stand out) e.g. very fat or very good looking
-Very thick skin. Accepting when you are just not the right person for the part, sometimes your skills have nothing to do with getting a job or not.
David:
-Understand that you are a business, a business of yourself. Good business brain!
-Understanding who you are as a performer and person. Knowing your selling points, your weaknesses and strengths. Never show what you would like to be. Never works!!
-Good networking skills a must. Be happy for who does well. Look out for inspirational people and challenges.
______________________
2. What is your opinion on temping jobs while on a resting period? And If you have some, what's your experience on temp jobs?
2. What is your opinion on temping jobs while on a resting period? And If you have some, what's your experience on temp jobs?
Adam:
-He did everything that could possibly come up to gain more skills.
-Everything that can enrich your experiences to then use them back when acting, related or not related to the acting/performing profession.
~Looping
~Voice over
~ Bar tending/waiting
~Role play (e.g. medicine and police students's final exams )
~Nanny
~Bar Host (chatting with people using acting skills..talk for a living)
~Call centre work (the worse one for him but very flexible)
~Cataloging records for a record label company.
-Never had a contract jobs so can always live for acting/tv work.
David:
- Recommends to try few temps jobs, it helps understanding another way of functioning in the world. You can't act without life experience
- On the other hand he doesn't encourage taking too many temping jobs on a regular basis. He believes once you are highly skilled in our profession, you should find a way to make money with the skills acquired.
- It keeps you active in the industry and your passion alive.
- We should be learning and improving at our craft to make the jobs we want more regular.
________________________
3. Did you get your first professional contract straight out of college? if yes What would you have done if otherwise?
Adam:
- He was lucky to being working since a very young age and got work since. But he mentioned a friend of him that is an example of how hard work comes back to you. She is very talented but was the only one not getting an agent after college. She did a lot of temp jobs and fringe work to get agencies to come to see her. She got represented by a small agency and after a while a very good one and got work since then in very big productions.
David:
- He was lucky enough to get a job before finishing college and straight after. He can't say he made the most out of it at the time as he didn't understand how to conduct himself which takes him back to being business minded and having good networking skills.
-He never doubted his vocation and never thought he could do anything else. If you are not that driven forget about succeeding in this career. Just "trying" having a performing career is not enough.
______________________
Adam:
- He was lucky to being working since a very young age and got work since. But he mentioned a friend of him that is an example of how hard work comes back to you. She is very talented but was the only one not getting an agent after college. She did a lot of temp jobs and fringe work to get agencies to come to see her. She got represented by a small agency and after a while a very good one and got work since then in very big productions.
David:
- He was lucky enough to get a job before finishing college and straight after. He can't say he made the most out of it at the time as he didn't understand how to conduct himself which takes him back to being business minded and having good networking skills.
-He never doubted his vocation and never thought he could do anything else. If you are not that driven forget about succeeding in this career. Just "trying" having a performing career is not enough.
______________________
4. How do you keep up physically and mentally when you are in between contracts?
Adam:
- If he has an auditions that involves dancing he would take a class before to feel more ready not having dancing as his strength.
- He doesn't usually takes acting classes as he believes that audition material give you enough to work on on your own, giving that you have acquired the shills necessary to work with what you have.
-A lot of actors are very wary on taking too many MT jobs as they give you then difficulties on to be taken seriously for a straight acting job.
David:
-Go out and be proactive. The more contacts and new people you meet or connect with the more you create opportunity.
-He never feels out of work because of he is always reaching out to connect with people to work on something.
____________________
5. What is your advice on finding an agent? And do you think it's possible to get professional work without one?
-For films, pick up a camera put together a showreel and send them to agents.
-Invite them to anything show you do via letters. They prefer they mail rather than the email. In one glance you can have a good idea of who you are and what You did in your CV. With emails is harder to catch your essence as a performer.
-Always in their rather but Don't hassle them. They do a hard job. They have power but they do the work as middle men between the performer and the casting director.
David:
-Word of mouth the best way. Looking at actors you admire and see who represent them is a good way to find good agencies.
-Always check the agencies' book and make sure there isn't someone "like" you that they already represent. In that case you have a slight chance to be interesting for them.
-It's possible to work without an agent with the use of casting sites where the casting directors contact you directly (Spotlight, Casting Call Pro)
-Agents are good for negotiating higher salary and notice pitfalls in contract.
-Contact casting directors directly. Keep them updated with what you do and take an interest in what they do and what they cast.
------------------------------------
So, with these interviews, I could see how many similar points my interviewers have and on some others their different opinions. The main one that was debatable during the sessions, was regarding temping jobs. I can see how the performers interviewed had a different view on the matter and a very different approach.
With the support of the literatures I found on this topic, I learnt how much being a performer has to deal somehow with temporary jobs. Whether you have a successful career or not, at some point you will encounter a "resting period", it's then up to you if you want (or have) to still have some kind of income and take whatever job comes along, or if you prefer be more selective and "protecting" your professional skills.
Another "fear" for actors I discovered reading articles about temp jobs, is finding the "confort zone" in a resting period. Once you find a job that you actually enjoy, that gives you a salary every month, respect from colleagues and taxes you don't have to deal with a the end of the year, can make you question why you weren't doing it before and forget about your passions.
I can see why some performers can approach temping jobs differently than others, you have to find your own why to then fall back into your profession without problems or anything that olds you back.
Wow, this was a very long post...hope someone can find it interesting rather than long and boring! :P
References:
Bean, M., Nov 2007. Why is Acting in Song So Different?, Journal of Singing [ejournal]
64(2) pp. 167-173. Available through: Ebscohost database. [accessed 23
Dec 2011].
http://www.spotlight.com/
http://www.castingcallpro.com/uk/
http://www.spotlight.com/
http://www.castingcallpro.com/uk/
Thursday, 19 April 2012
Exceptional Campus Session 4 !
Yesterday I was happy to participate to an extra campus session I'd suggested back on the second one...I though that an extra one after the Easter break could have been very beneficial to us, giving the opportunity to clarify the last few uncertainties and have the chance to talk about the artefact a bit more.
Again it was a small group but it gave us more time to spend on our own practices research and our main concerns.
I personally have to give a big YES YES to Paula and her Addendum for module 3 as that is the best way for me to "just get things done"!!! Having deadlines and tasks it's a bit frustrating for some (and to me as well) but it actually puts me on the spot and I tend to follow deadlines a bit more :)
This was regardless the deadline for part 1 and 2 of the Critical Review, which I first drafted and sent over to Paula, even though after today I already know what I need to change and what I did "wrong" writing up my Evaluation part.
I believe Paula will blog about this too but I think the most important points that came up today (in a total informal chat lasted 3 hours) are the follows:
- Journal entries and the importance of blogging for final marks -
Tamsin (whom I met today and was very helpful and supportive with her participation) wasn't sure that the journal writing was something we will get marked on as, she explained, she couldn't engage with the journal task as much as having full conversations with fellow peers and blogging and commenting about them. (Goodwin-Connelly, 2012)
She got reassured by Paula that as long she has a reason for not using them and she can back it up with evidence, explaining why she used it or not, that is totally fine.
- Clarification on Literature Review -
This time I needed some explanation on the Literature Review of the Evaluation part. I wasn't sure (yeah still..I know!) how it had to be structured in what should be a piece of writing of only 2.500 words (10 % more or less) which seems a lot but really isn't enough to write about every single literature found and still have words left to talk about everything else (who you talked to, what tools you used, why you chose the people you've chosen to interview, what were the consequences/outcomes of your activities, bibliography, etc..)
So Paula helped me understand better with a "live" example, asking Tamsin what kind of literatures she had found and which one were the ones that mostly influenced her thinking; she talked about a book she read but more specifically about one chapter that caught her the most, so she will be probably citing and quoting from that chapter in particular as she can't tell us about the whole book. That's how the literature review show work, finding the ones that mostly worked for our specific inquiry and mentioning those in the Evaluation part to then be able to cite them back in the Analysis part.... ( Have I explained it well?? If it doesn't make sense please ask me and I'll try to make myself clearer ) :P Tamsin also told us how she made a post on the main themes of her literatures making it easier for her to then use that in her appendice to back up with evidence her Literature review ( Tamsin please correct this if not accurate! )
- Artefact -
We then talked about were we are with our artefacts and we were all at different stages. I guess this is the part that scares most people up as it's difficult to find in such short amount of time what would work best for our targeted audiences. I have personally thought of creating a website for the performers (my audience) gathering useful information I found that could help the emerging performer find what is needed in this industry. Paula had to warn me on checking the implication that this my have once it goes public, I need to make sure that all the content I put on the website are not going to be harmful for myself...basically not to shoot me in the foot. I have to make a good consideration at ethics and privacy before I make it public.
Paula made an exercise for those who were "not there yet" with their artefact idea; she started asking questions to provoke and generate ideas there on the spot to help them out.
Things like, who is your audience, how could they benefit from your findings, how could it be largely distributed in order to reach as many people as possible, were few of the question that Paula asked.
Tamsin had the problem of being more an "academic" and writing persona rather than creative in a arty way, so therefore she felt a bit blocked...we all helped put each other with sharing ideas and advises, which is what felt works always the best. In a way this is the whole point of commenting and connecting among us via blogs; as Tamsin shared with us, she had started following other people's blogs more as that was asked in our module guide and felt she HAD TO, but then she realized that reading other people's thinking could easily relate to her own inquiry arising new inputs for her. That is way we are asked to do it, not much because is only a task that's part of the course, but because we can definitely benefit from it as much as we can help others with our interventions. ( Paula suggested to her that this thinking process and realization should be part of her final part of the Critical review, the CRitical Reflection )
We concluded that the artefact should be something that almost organically comes from our inquiry (Nottingham, 2012) a finished step rather that a further investigation. Obviously we should use the artefact as something that could go further for our career, that could actually be beneficial in the future (like those that created a workshop or a course program curriculum to then present at job interview for instance).
Also the artefact could be introduced into the Reflection part as how you identify your audience and what brought you to your final decision.
These are the main points that were touched but that also interested me the most, probably looking up at Tamsin, Tamisha, Samatha and Paula's blogs there could be some more interesting parts I left out.
In a way we went through how the Critical Review is structured (Introduction, Evaluation, Analysis, Reflection, Artefact) and talked about each and what should be enclosed in the writing. Paula added that nothing is written in stone and something that could be in the analysis as findings could also be mentioned in the Evaluation ... depends how we structure and want to talk about our Inquiry.
Now is the time were we should have at least most of our findings/data and should find a way that works for us to link everything together! Not an easy task I know...were is everyone else at? I'd love to hear how you are doing! :)
Again it was a small group but it gave us more time to spend on our own practices research and our main concerns.
I personally have to give a big YES YES to Paula and her Addendum for module 3 as that is the best way for me to "just get things done"!!! Having deadlines and tasks it's a bit frustrating for some (and to me as well) but it actually puts me on the spot and I tend to follow deadlines a bit more :)
This was regardless the deadline for part 1 and 2 of the Critical Review, which I first drafted and sent over to Paula, even though after today I already know what I need to change and what I did "wrong" writing up my Evaluation part.
I believe Paula will blog about this too but I think the most important points that came up today (in a total informal chat lasted 3 hours) are the follows:
- Journal entries and the importance of blogging for final marks -
Tamsin (whom I met today and was very helpful and supportive with her participation) wasn't sure that the journal writing was something we will get marked on as, she explained, she couldn't engage with the journal task as much as having full conversations with fellow peers and blogging and commenting about them. (Goodwin-Connelly, 2012)
She got reassured by Paula that as long she has a reason for not using them and she can back it up with evidence, explaining why she used it or not, that is totally fine.
- Clarification on Literature Review -
This time I needed some explanation on the Literature Review of the Evaluation part. I wasn't sure (yeah still..I know!) how it had to be structured in what should be a piece of writing of only 2.500 words (10 % more or less) which seems a lot but really isn't enough to write about every single literature found and still have words left to talk about everything else (who you talked to, what tools you used, why you chose the people you've chosen to interview, what were the consequences/outcomes of your activities, bibliography, etc..)
So Paula helped me understand better with a "live" example, asking Tamsin what kind of literatures she had found and which one were the ones that mostly influenced her thinking; she talked about a book she read but more specifically about one chapter that caught her the most, so she will be probably citing and quoting from that chapter in particular as she can't tell us about the whole book. That's how the literature review show work, finding the ones that mostly worked for our specific inquiry and mentioning those in the Evaluation part to then be able to cite them back in the Analysis part.... ( Have I explained it well?? If it doesn't make sense please ask me and I'll try to make myself clearer ) :P Tamsin also told us how she made a post on the main themes of her literatures making it easier for her to then use that in her appendice to back up with evidence her Literature review ( Tamsin please correct this if not accurate! )- Artefact -
We then talked about were we are with our artefacts and we were all at different stages. I guess this is the part that scares most people up as it's difficult to find in such short amount of time what would work best for our targeted audiences. I have personally thought of creating a website for the performers (my audience) gathering useful information I found that could help the emerging performer find what is needed in this industry. Paula had to warn me on checking the implication that this my have once it goes public, I need to make sure that all the content I put on the website are not going to be harmful for myself...basically not to shoot me in the foot. I have to make a good consideration at ethics and privacy before I make it public.
Paula made an exercise for those who were "not there yet" with their artefact idea; she started asking questions to provoke and generate ideas there on the spot to help them out.
Things like, who is your audience, how could they benefit from your findings, how could it be largely distributed in order to reach as many people as possible, were few of the question that Paula asked.
Tamsin had the problem of being more an "academic" and writing persona rather than creative in a arty way, so therefore she felt a bit blocked...we all helped put each other with sharing ideas and advises, which is what felt works always the best. In a way this is the whole point of commenting and connecting among us via blogs; as Tamsin shared with us, she had started following other people's blogs more as that was asked in our module guide and felt she HAD TO, but then she realized that reading other people's thinking could easily relate to her own inquiry arising new inputs for her. That is way we are asked to do it, not much because is only a task that's part of the course, but because we can definitely benefit from it as much as we can help others with our interventions. ( Paula suggested to her that this thinking process and realization should be part of her final part of the Critical review, the CRitical Reflection )
We concluded that the artefact should be something that almost organically comes from our inquiry (Nottingham, 2012) a finished step rather that a further investigation. Obviously we should use the artefact as something that could go further for our career, that could actually be beneficial in the future (like those that created a workshop or a course program curriculum to then present at job interview for instance).
Also the artefact could be introduced into the Reflection part as how you identify your audience and what brought you to your final decision.
These are the main points that were touched but that also interested me the most, probably looking up at Tamsin, Tamisha, Samatha and Paula's blogs there could be some more interesting parts I left out.
In a way we went through how the Critical Review is structured (Introduction, Evaluation, Analysis, Reflection, Artefact) and talked about each and what should be enclosed in the writing. Paula added that nothing is written in stone and something that could be in the analysis as findings could also be mentioned in the Evaluation ... depends how we structure and want to talk about our Inquiry.
Now is the time were we should have at least most of our findings/data and should find a way that works for us to link everything together! Not an easy task I know...were is everyone else at? I'd love to hear how you are doing! :)
Monday, 26 March 2012
Thursday, 22 March 2012
Interview's reflection
I finally managed to interview Andrea Bassani, an Italian musician (pianist), composer and more recently the founder of its own theatrical cultural association where he runs workshops and small productions.
As he lives in Italy I re-used the form of email for my interview, so I tried to make sure not to fall into the same problems I encountered with my first email interview ( previous post 1- post 2 ).
Skype was my first attempt, but he wasn't enough prepared for that (nor skype account nor mic or webcam).
I tried to be as clear as possible not too waste time (reading) and his time (writing about non-related topics).
I firstly briefed him on what my inquiry is about them moved onto a very informal approach on the interview, explaining to him how his answering should have been as free as possible, not feeling restricted and leading towards whatever he felt the need to perfuse on.
Why did I interview him? What's the link with my inquiry?
I was interested to see how an Italian professional perceive the artistic business nowadays and especially compare the differences between the Italian panorama and the British one. (one I come from, one I want to work on now).
His knowledge on Musical and the American/English culture of it made sense to interview him as he had a good view of the origins of Musical in particular and its landing in Italy effects.
How I managed the data re-collection?
I thought of re-writing on my diary all the points that were of most interest and that linked with my inquiry, also description of him that makes more clarity when reading (gives an idea of where he comes from and how knowledgeable he is); then organized them in sections in order to reproduced them on my blog as clearly as possible for the reader (tip I got from the last Writing Workshop I attended).
Findings:
He starts his passion for Musical after the production of Cats reaches Italy years ago. He applauds the 'Stanislavsky system' that proclaims the emotions and its realism (Bassani, 2012) and is a progression of techniques used to train actors to draw believable emotions to their performances (Wikipedia, 2012) and rejects the so far mostly used Brechtian method, where a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage (Wikipedia, 2012).
Based on this belief he also starts running small productions of Musicals and Theatrical concerts.
When I asked him what is/are the characteristic/s that a performer should have nowadays for him, he answered a natural gift and talent for sure, technic, the skill to choose who teaches us and what (not to waste time and energy in the wrong training), the awareness of our limits (strengths and weaknesses) and, most of all a strong sensibility and the ability of get moved and dream to be able to "touch" the audience.
On singing and acting the talent can prevail the technic but on dance he believes that a strong technicality is essential.
He stressed on how in Italy is missing the teaching of "how to live the character" on stage, which is missing from the teachers in the first place.
He links this un-preparation to the large unsuccessful productions that are happening in Italy, due to the standardized preparation that the performers have. Good singers and dancers but that cannot portray the character and act within the song/movements.
So far I understood that more or less the same features and characteristics are asked in Italy as well as here in the Uk. Probably the stress he has on "what teacher to pick and to learn what" has more to do with the limits that training in Italy has; here (UK) you can take a single class and decide where to keep up with your training, in Italy this concept is still not largely available and we return on the factor of being lucky enough to get trained where there are 'good teachers', a subject that I already discussed with in a previous Focus Group with 3 professionals (2 of them where Italian).
He carries on stressing how getting trained in different methodologies creates a better performer to be able to have more knowledge and tools to use in an artistic life.
Italy is developed in Opera, Commedia, Prose, etc..all styles inappropriate to Musical, that's why the artistic professional outlook is still poor.
There are full productions that are based only on singing/ acting rather than dancing and here is where Italy is weak.
Here is where I can see how strongly difficult the introduction of the Musical culture in Italy can be compromised until the training doesn't change methodology. Also the existing little culture of it keeps pushing famous TV figures into the shows to make audience. This has been used in the UK too though, for the past 10 years or so CHICAGO the Musical in London has starred famous UK and American actresses/actors for the principal roles of Roxie Hart, Billy, Velma and 'Mama'...to name few, Ugly Betty's star America Ferrera recently in the show, Ashlee Simpson, Denise Van Outen, American actress's Brooke Shield and Bonnie Langford among others. So this isn't only happening in Italy, although we should analyze on what scale and how often this is happening here compared to Italy...
On my question What he suggest as skills to keep up as an artist and what he expects to see in a performer auditioning for one of his shows, he answered EMOTIONS, so for sure the natural talent that he can see coming put. Although, this is a very romantic and objective first answer, he then added that in Italy he sees very talented singers that would be great for a record labels but not for a live show as emotions are rarely portrayed. He prefers the America/English structuring of a musical show, where the Stanislavsky method is favorite, where the voice expresses what the character feels on that moment (A good performer delivers what feels whitin the character and not to show off its vocal abilities).
Another skill he recommends is to be up to date with the latest productions and the teams that put them up. Having a personal opinion on what works and what doesn't and why, gives you a good preparation and knowledge on the business.
Also, for him, working on how to express themselves in every discipline, whether it is singing acting or dancing is fundamental.
Constantly train memory and speed of reaction and learning. Performers with these skills are strongly preferred from casting directors nowadays as long rehearsals can be time consuming as well as a waste of money, two things not much available in the business these days.
Be available to be part of minor productions to keep in touch with reality, as long as they have something you can take home, it's not worth to dis-learn something.
When I asked him to describe for him the differences between the Italian's situations in Musicals compared to the UK, obviously I didn't mean if Italy is at the same level, we all know that it's not part of the culture and that here is an extremely important facet of the art. What I was curious to know was how the introduction of the musical culture in Italy has been welcomed. How it is seen by the Italian audience and what are the problems that may not leave the shows to become more and more happening.
He strongly affirmed that in the first place we have the TV programs and reality that inject the wrong idea of the musical. A stereotype that bases everything on competition, which os obviously and important aspect of the business but it should be lead by showing who is the strongest but should be lead by the willpower of showing a talent, a passion rather than "winning on someone else". Another problem in Italy is that unless you have a big production and funds to put up a show, the minor productions don't have space of development. Italy also fears the coming of foreign productions and these can arise real interests and passion in the Italians's hearts.
He then admits that lighting, sound and live orchestras are the only sectors in which Italy can be equivalent to the UK.
These last informations weren't very clear to me but most of all didn't have a real connection with my inquiry, they could help to give me a overall picture but I have to admit this was the case where email interviewing creates problems leading the interviewee towards un-related topics.
When I asked him to describe for him the differences between the Italian's situations in Musicals compared to the UK, obviously I didn't mean if Italy is at the same level, we all know that it's not part of the culture and that here is an extremely important facet of the art. What I was curious to know was how the introduction of the musical culture in Italy has been welcomed. How it is seen by the Italian audience and what are the problems that may not leave the shows to become more and more happening.
He strongly affirmed that in the first place we have the TV programs and reality that inject the wrong idea of the musical. A stereotype that bases everything on competition, which os obviously and important aspect of the business but it should be lead by showing who is the strongest but should be lead by the willpower of showing a talent, a passion rather than "winning on someone else". Another problem in Italy is that unless you have a big production and funds to put up a show, the minor productions don't have space of development. Italy also fears the coming of foreign productions and these can arise real interests and passion in the Italians's hearts.
He then admits that lighting, sound and live orchestras are the only sectors in which Italy can be equivalent to the UK.
These last informations weren't very clear to me but most of all didn't have a real connection with my inquiry, they could help to give me a overall picture but I have to admit this was the case where email interviewing creates problems leading the interviewee towards un-related topics.
I decided after this interview to re-interview the same person via Skype (he managed to create an account) so that I can focus more on the matters that he touched that were of most relevance for my inquiry.
Overall I did receive a good amount of qualitative data which I can evaluate in my findings and add them into my reflection; it was interesting for me to understand how the "performer" is perceived abroad and especially in the country I'm originally from.
Overall I did receive a good amount of qualitative data which I can evaluate in my findings and add them into my reflection; it was interesting for me to understand how the "performer" is perceived abroad and especially in the country I'm originally from.
Tuesday, 20 March 2012
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